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THE   ELEMENTS' 


ENGLISH  COMPOSITION. 


A  PREPARATION  FOR  RHETORIC. 


MISS   L.  A.  CHITTENDEN, 

TEACHER  OF  ENGLISH  LANGUAGE  AND  LITERATURE     IN   ANN  ARBOR 
HIGH   SCHOOL. 


EIGHTY  THIRD  THOUSAND. 


CHICAGO: 
S.    C.    GRIGGS    AND    COMPANY. 

1890. 


Copyright,  1884, 
By  S.  C.  GKIGGS  AND  COMPANY. 

•CATION  DEFT, 


f~KKIGHT    &  LEONARD 


PREFACE. 


This  work  is  prepared  for  the  lower  grades  of  the 
High  School.  The  object  has  been  to  furnish,  with  as 
little  theory  as  possible,  such  a  set  of  directions  and  exer- 
cises as,  even  before  the  pupil  has  attained  the  maturity 
of  mind  necessary  for  the  formal  study  of  rhetoric,  will 
enable  him  to  become  a  tolerably  correct  composer;  at 
least  to  avoid  the  blunders,  if  not  to  acquire  the  graces, 
of  composition. 

By  the  time  the  pupil  has  passed  over  the  exercises 
in  punctuation,  transformation  of  elements,  and  rhetor- 
ical principles,  he  should  have  secured  a  fair  degree  of 
accuracy.  Whatever  additional  practice  may  be  neces- 
sary will  be  found  in  the  Reproductions.  These  Repro- 
ductions are  of  course  primarily  intended  to  furnish 
material  for  practice  upon  the  principles  that  are  under 
discussion.  Another  and  hardly  less  important  purpose 
is  to  furnish  the  first  step  in  a  graded  system  of  exer- 
cises leading  to  original  composition.  All  writers  have 
learned  to  write  by  seeing  how  others  have  written. 
The  music  pupil  learns  to  execute  what  others  have 
composed  before  he  is  set  to  composing  for  himself. 
In  putting  into  his  own  words  a  poem,  or  a  story,  or  a 
chapter  of  history,  the  pupil  learns  to  select  the  proper 

54!?! 7 


IV  PREFACE. 

points,  to  arrange  well,  to  connect  clearly,  to  adapt 
diction  to  thought,  etc.  This  he  will  learn  to  a  large 
extent  unconsciously,  but  on  many  of  these  important 
points  he  will  fail,  and  these  failures  will  furnish  the 
teacher  with  proper  subjects  of  criticism. 

The  second  step  toward  original  writing  is  found  in 
the  Developments.  This  is  half  way  between  the  wholly 
reproductive  and  the  wholly  original.  Here  the  imagina- 
tion is  called  into  play  in  supplying  the  details  of  a  plot, 
only  the  outlines  of  which  are  given.  The  Development 
furnishes  also  a  severe  test  of  style,  for  it  gives  abso- 
lutely no  aid.  If  the  pupil  now  shows  that  he  does  not 
yet  comprehend  the  difference  between  good  writing  and 
poor,  more  practice  should  be  given  in  Reproduction. 
The  Developments  will  afford  opportunity  for  the  teacher 
to  point  out  lack  of  harmony  between  the  additions  the 
pupil  has  made  and  the  plot  given,  violations  of  correct 
proportion,  inconsistencies  of  detail,  faults  of  diction, 
etc.  To  several  of  the  first  Developments,  hints  have 
been  added  to  guide  and  encourage  the  pupil.  It  will, 
however,  be  well  to  give  him  as  little  aid  as  possible. 
The  more  independent  he  is  in  his  treatment  of  the 
Developments,  the  better  prepared  will  he  be  for  the 
original  themes.  But  to  such  individual  pupils  as  are 
most  deficient  in  imagination,  the  aid  of  additional  hints 
may  properly  be  continued  longer  than  to  the  others. 
With  this  preliminary  training,  there  will  be  an  easy 
transition  to  simple  imaginative  themes. 

The  Development  is  the  exact  opposite  of  the  Repro- 


PREFACE.  V 

duction.  The  Development  adds  the  details,  the  Repro- 
duction omits  them;  the  matter  furnished  for  the  Devel- 
opment is  much  shorter  than  the  required  essay,  the 
matter  furnished  for  the  Reproduction  is  much  longer. 

The  next  step  beyond  the  Reproduction  in  the  line 
of  condensation  is  the  Summary.  The  matter  given  for 
the  Summary  is  much  greater  than  for  the  Reproduction, 
and  the  required  essay  may  be  made  shorter.  The 
object  of  the  Summary  is  brevity  of  expression  and  grasp 
of  thought.  If  these  various  exercises  be  at  first  applied 
to  easy  matter,  stories,  simple  poems,  etc.,  the  pupil  will 
be  able  to  apply  them  with  great  advantage,  in  a  more 
advanced  part  of  his  course,  to  the  more  difficult  subjects 
of  history,  science,  orations,  etc. 

The  Paraphrase  deals  exclusively  with  style.  The 
passage  given  is  short;  the  pupil  is  obliged  to  concen- 
trate his  efforts  on  the  best  ways  of  re-expressing  it. 
The  excellence  of  this  exercise  no  experienced  teacher 
will  doubt.  Dr.  Harris  says,  "One  increases  rapidly  in 
the  command  of  language  when  he  is  required  to  para- 
phrase, and  to  discover  the  advantages  and  disadvantages 
of  the  modes  of  expression  used  by  himself  and  others." 

The  imaginative  faculty  is  usually  sufficiently  lively 
to  make  it  early  available  in  furnishing  the  material  for 
writing, —  material  pleasing  to  the  pupil  and  adapted  to 
his  years.  But  even  if  he  does  not  at  first  succeed  in 
imaginative  work,  let  his  efforts  be  judiciously  guided 
and  encouraged,  and  he  will  make  the  same  improvement 
in   this   as  in  any  other  line    of   study.     Imaginative  is 


VI  PREFACE. 

placed  before  descriptive  writing;  and  it  is  believed  that 
this  arrangement  is  philosophical.  As  treated  in  this 
book,  descriptive  writing  is  the  more  difficult.  As  the 
pupil  has  doubtless  had  in  the  lower  grades  some  prac- 
tice in  the  description  of  simple  objects,  it  is  thought 
practicable  to  advance  to  themes  offering  more  variety 
and  more  pleasure,  but  requiring  more  maturity  of 
thought  and  style. 

This  work,  undertaken  at  first  to  supply  the  author  a 
series  of  exercises  for  oral  instruction,  is  in  every  respect 
an  outgrowth  of  the  class-room,  and  it  is  believed  that 
in  other  hands  it  will  stand  the  only  true  test  of  a  school- 
book, —  the  test  of  trial. 

The  author  desires  to  acknowledge  most  gratefully  her 
indebtedness,  for  assistance  and  encouragement  during 
the  progress  of  the  work,  to  Supt.  W.  S.  Perry;  and  Prof. 
W.  H.  Payne,  of  Michigan  University. 

Thanks  are  also  due  to  several  publishers  for  their 
kindness  in  allowing  selections  to  be  made  from  their 
publications, —  to  Messrs.  Houghton,  Mifflin,  &  Co.,  Bos- 
ton, for  selections  from  Phoebe  Cary,  Adelaide  Procter, 
Lowell,  and  Whittier;  to  Messrs.  Roberts  Bros.,  Bos- 
ton, for  selections  from  Louise  Chandler  Moulton  and 
Susan  Coolidge;  to  Mr.  Parke  Godwin  and  Messrs. 
D.  Appleton  &  Co.,  for  selections  from  Bryant;  to  the 
Century  Co.,  for  poems  from  "St.  Nicholas";  and  to 
others  whose  names  are  mentioned  in  connection  with 
the  selections  copied. 

THE  AUTHOR. 
Ann  Arbor,  June  23,  1884. 


CONTENTS. 


PART  I. 

CHAPTER  I. 

PUNCTUATION  AND  CAPITALS. 

Capitals 1 

Punctuation  op  the  Simple  Sentence  — 

The  Period 4 

The  Apostrophe         4 

The  Comma 5 

Punctuation  of  the  Complex  Sentence  — 

The  Comma 10 

Punctuation  of  the  Compound  Sentence  — 

The  Comma,  Semicolon,  and  Colon      ....  13 

The  Exclamation  Point 15 

The  Interrogation  Point 15 

The  Dash        16 

The  Hyphen         17 

The  Caret 17 

The  Quotation  Marks 17 

Combination  of  Detached  Elements   ....  19 

Exercises  in  Composition  — 

Reproduction  I. —  The  Leak  in  the  Dyke        .      .  24 

Reproduction  II. —  A  Legend  of  Bregenz      .      .  29 

Reproduction  III. —  In  Swanage  Bay        ...  34 

Development  I. —  The  Sad  Little  Lass      ...  39 
vii 


Vlll  CONTENTS. 

CHAPTER  II. 

TRANSFORMATION  OF  ELEMENTS. 

Exercises  in  Transformation 40 

Exercises  in  Composition  — 

Reproduction  IV. —  The  Painter  of  Seville    .      .     48 
Reproduction  V. —  Prose  Readings 
Reproduction  VI. — The  Retired  Cat 
Development  II. —  The  Dog  and  the  Shadow 
Development  III. —  A  Christmas  Pie 
Development  IV. —  Ino  and  Uno    .... 


54 
54 

57 
58 
58 


CHAPTER   III. 

PRINCIPLES  OF  EXPRESSION. 

Principle  I. —  Personal  Pronouns 60 

Principle  II. —  Relative  Pronouns       .      .            .      .  63 

Principle  III. —  Number  of  Relatives  in  a  Sentence  64 

Principle  IV.— "And  Which " 66 

Principle  V. —  Participles         67 

Principle  VI. —  Phrases  and  Adverb  Clauses      .      .  68 

Principle  VII. —  Unnecessary  Repetition      ...  69 

Principle  VIII.— Fine  Effect  of  Repetition        .      .  70 

Principle  IX.— Omission 71 

Principle  X.— "And" 72 

Principle  XI. —  Climax 73 

Principle  XII.—  Position  of  Phrases       ....  74 

Principle  XIII. —  Emphasis 74 

Principle  XIV.—  Change  of  Construction    ...  75 

Principle  XV.—  Thoughts  not  Connected     ...  76 

Combination  of  Detached  Elements  ....  77 

Rules  for  the  Paragraph    .      ......  80 


CONTENTS.  IX 

Exercises  in  Composition  — 

9  Reproduction  VII. —  The  Singing  Leaves       .      .  83 

Development  V. — Two  Kitties 86 

Development  VI.— The  Baby  Bird      ....  87 

Reproduction  VIII. —  Prose  Readings       ...  88 

Reproduction  IX. —  John  Gilpin 88 

Development  VII. — The  Tragical  Fate  of  Jack 

and  Jill 92 

Development    VIII. —  Little     Jack's     Christmas 

Dinner 93 

Reproduction  X. —  The  Butterfly  and  the  Snail  .  93 

Development  IX. —  The  Mouse  and  the  Elephant  94 

Development  X.— Will  o'the  Wisp     ....  95 

Development  XL— The  White  Lily    ....  96 

Subjects  for  Story 97 

CHAPTER  IV. 

PRINCIPLES  OF  EXPRESSION  (Continued). 

Principle  XVI. —  Interrogation  and  Exclamation  .  98 

Principle  XVII. —  Direct  and  Indirect  Narration  .  102 

Principle  XVIII. —  Inversion 104 

Principle  XIX. —  Figures  — 

Simile 106 

Metaphor 107 

Metonymy         108 

Personification        ....  109 
Exercises  in  Composition  — 

Reproduction  XI.  —  In  the  Tower      ....  110 

Reproduction  XII. —  Prose  Readings       .      .      .  114 

Development  XII. —  Princess  Fuzz    ....  114 

Development  XIII. —  Mamma's  Little  Assistants  115 

Development  XIV. —  Found  Dead  in  the  Street  lid 


CONTENTS. 

Reproduction    XIII. —  The    Romance    of     the 

Swan's  Nest   . 
Development  XV— The  Little  Flower  Girl 
Development  XVI.—  Bullfrog  Talk 
Development  XVII. —  Housekeeping 
Reproduction  XIV. —  Easter  Lilies    . 
Development  XVIII.— The  Wish      .      . 
Development  XIX. —  Abou  Ben  Adhem 
Subjects  for  Story 


H8 
120 
121 
121 
122 
123 
124 
124 


CHAPTER   V. 


LETTER-WRITING. 
Parts  of  a  Letter  — 

The  Heading 126 

The  Address 127 

The  Salutation 128 

The  Complimentary  Close  and  Signature      .      .  129 

The  Superscription 130 

Models ........  131 

Hints  on  Letter-writing     .......  137 

Subjects  for  Letter-writing 138 

PART  II. 
CHAPTER  VI. 

THE  PARAPHRASE. 

Rules  for  the  Paraphrase 139 

Selections  for  Paraphrasing  — 

Selection  I. —  Sella 141 

Subjects  for  Story         151 

Selection  II. —  Snow-Bound    ♦.,,,,  151 


CONTENTS.  XI 

Exercises  in  Composition  — 

Development  XX. — The  House  in  the  Meadow  158 

Development  XXI. —  A  Farm  Picture    ...  158 

Development  XXII. —  A  Morning  Scene       .      ,  159 

Development  XXIII.— Cleon  and  I    ....  159 

Development  XXIV. —  Requiescat    ....  160 

Development  XXV.—  The  Three  Fishers     .      .  160 

Development  XXVI.— The  Brook     ....  161 

Development  XXVII. —  An  Evening  Scene       .  161 

Subjects  for  Description    . 163 

CHAPTER   VII. 

ADDITIONAL  MATERIAL  FOR  COMPOSITION. 

Fiction  and  Poetry 164 

History  and  Travel 166 

Hints  on  the  Preparation  of  Essays     .      .      .  168 

Hints  on  the  Use  of  Books 169 

Miscellaneous  Subjects 169 

Marks  for  the  Correction  of  Compositions    .  173 


PART  I 


CHAPTER  I. 
PUNCTUATION  AND   CAPITALS. 

CAPITALS. 

In  writing,  observe  the  following  directions  for  the  use 
of  capitals : 

1.  Begin  with  a  capital  the  first  word  of  every  sen- 
tence. 

2.  Begin  with  a  capital  the  first  word  of  every  line  of 
poetry. 

3.  Begin  with  a  capital  all  proper  nouns,  and  words 
derived  from  them:  as  — 

.  Boston;  the  United  States;  the  British  nation;  the  Greek  lan- 
guage; the  Christian  religion. 

4.  Begin  with  a  capital  names  of  things  personified:  as — 
0  Freedom,  close  not  thy  lids  in  slumber!     They  went  to  the 

Butterfly's  hall. 

5.  Begin  with  a  capital  titles  of  honor,  and  official 
titles,  especially  when  applied  to  a  particular  person  or 
when  they  precede  a  name:  as  — 

The  Duke  of  Edinburg ;  President  Oar  field;  Uncle  James; 
Mayor  Harriman. 

Note.— When  titles  like  king,  duke,  general,  etc.,  occur  frequently  and  are 
not  followed  by  the  name,  the  capital  need  not  be  used. 


2  THE   ELEMENTS   OF   ENGLISH   COMPOSITION. 

•  •'  •    G".  Begin  with  a  capital  names  of  Deity:  as  — 

The  Almighty  ;  the  Infinite  ;  the  Most  High  ;  the  Divine  Savior. 

7.  Begin  with  a  capital  pronouns  referring  to  Deity: 
as  — 

0  Thou  that  hearest  prayer. 
Note.— If  the  reference  is  perfectly  clear  the  capitals  are  sometimes  omitted. 

8.  Begin  with  a  capital  names  of  the  Bible,  and  any  of 
its  books:  as  — 

The  Holy  Scriptures;  the  Gospel  of  John. 

9.  Begin  with  a  capital  names  of  streets,  months,  days 
of  the  week:  as  — 

They  live  on  Washington  Street;  the  month  of  August ;  it  is 
Friday  morning. 

10.  Begin  with  a  capital  names  of  religious  sects,  and 
political  parties:  as  — 

The  Protestants ;  the  Republicatis  ;  the  Tories. 

11.  Begin  with  a  capital  names  of  important  historical 
events:  as  — 

The  Reformation  ;  the  Declaration  of  Independence. 

12.  Begin  with  a  capital  the  words  North,  South,  East, 
West,  when  applied  to  parts  of  a  country. 

13.  Begin  with  a  capital  the  first  word  of  a  direct 
quotation:  as  — 

Cmsar  cried,  "Help  me,  Cassius,  or  I  sink.'" 

14.  The  pronoun  I  and  the  interjection  O  are  always 
capitals. 

Exercise  1. — Correct  the  capitalization  of  the  follow- 
ing examples,  and  give  the  reason  for  every  change. 

1.  The  Painter  by  his  skill  throws  italian  light  on  english  walls. 
2.  Thank  heaven,  i'ra  here!  3.  In  that  Mansion  was  free-hearted 
hospitality.  4.  Is  this  consistent  with  christian  Principle?  5.  I 
will  come  monday  or  tuesday.     6.  The  duke  of  Wellington  is  Dead, 


PUNCTUATION   AND   CAPITALS.  6 

7.  he  devoted  himself  to  the  Study  of  the  holy  scriptures.  8. 
Every  american  boy  is  a  possible  president  of  the  united  States. 
9.  The  Guests  were  entertained  by  Mayor  rice  at  his  Residence,  no. 
34  union  place.  10.  in  point  of  real  force  and  originality  of  Genius, 
neither  the  age  of  pericles,  nor  the  age  of  augustus,  nor  the  times  of 
Leo  X.,  can  come  at  all  into  comparison  with  that  of  elizabeth.  11. 
china,  india,  Palestine,  egypt,  greece,  and  rome,  are  successively 
lighted  up  by  the  Majestic  orb  of  Day.  12.  He  was  the  Author  of  a 
tract  on  the  french  revolution.  13.  A  Certain  brahmin  vowed  to 
sacrifice  a  Sheep.  14.  The  prince  of  wales  will  succeed  queen 
Victoria  upon  the  Throne  of  England.  15.  He  is  also  called  the 
eternal,  the  invisible,  the  infinite,  the  being  of  Beings.  16.  new 
york  City  is  on  Manhattan  island.  17.  The  City  of  new  York  is  on 
the  Island  of  manhattan.  18.  During  the  roman  occupation  of 
england,  the  latin  language  had  gradually  come  into  use.  19.  Wed- 
nesday is  so  called  from  Woden,  our  forefather's  God  of  War; 
Thursday,  from  thor,  the  God  of  Thunder;  friday,  from  Frea,  the 
Goddess  of  Peace.  20.  Do  you  speak  french  or  german?  21.  Have 
you  studied  greek  and  latin?  22.  The  whig  Ministers  were  com- 
pelled to  yield  their  Places  to  the  tories. 

23.   o  wedding-guest!  this  soul  hath  been 

alone  on  a  wide,  wide  sea ! 

so  lonely  'twas,  that  god  himself 

scarce  seemed  there  to  be. 

PUNCTUATION  OF  THE  SIMPLE  SENTENCE. 

To  enable  the  eye  to  apprehend  more  readily  the  sense 
of  a  passage,  certain  marks  are  used  called  Punctuation 
Marks. 

These  are  : — 

The  period  .  The  interrogation  point   P 

The  comma  ,  The  exclamation  point     ! 

The  semi-colon   ;  The  quotation  marks      "  " 

The  colon  :         The  dash  — 

The  apostrophe  '  The  parenthesis  (  ) 

The  hyphen         -         The  caret  a 


4  THE   ELEMENTS   OF   ENGLISH    COMPOSITION. 

Though  the  first  exercises  in  punctuation  are  restricted 
to  the  simple  sentence,  it  is  evident  that  the  directions 
will  apply  equally  well  to  the  clauses  of  complex  and  com- 
pound sentences. 

THE  PERIOD. 

Rule  1 . — A  sentence  not  interrogative  or  exclamatory 
must  be  followed  by  a  period. 

Rule  2. — Abbreviations,  Roman   numerals,  headings, 
and  signatures,  must  be  followed  by  a  period:  as  — 
Rev.  James  Baldivin;  Mrs.W.  S.  Jones;  Henry  VIII. 

Exercise  2. — In  the  following  examples  make  what- 
ever abbreviations  would  be  proper,  and  punctuate  accord- 
ing to  the  rules. 

1.  This  work  is  edited  by  John  George  Morris,  Doctor  of  Divinity. 
2.  The  Reverend  Henry  Charles  Potter  was  consecrated  Assistant 
Bishop  of  New  York.  3.  Mister  Henry  Irving,  the  English  actor, 
arrived  in  this  country  on  Sunday  morning.  4.  The  following  reso- 
lutions were  offered  by  Doctor  Flint.  5.  Colonel  Howard  is  the  guest 
of  the  Honorable  James  Frank  Rodgers.  6.  The  cornerstone  of  the 
church  which  is  to  be  erected  over  the  spot  where  the  Emperor 
Alexander  II  was  killed,  was  laid  on  Thursday  in  Saint  Petersburg. 
7.  The  President  of  the  United  States  lives  at  Washington  in  the 
District  of  Columbia.  8.  Gentlemen  Stewart,  Clinton,  and  Com- 
pany, Boston,  Massachusetts.  9.  President  Brown,  Doctor  of  Di- 
vinity, Doctor  of  Laws.  10.  Charles  Hubbard,  Master  of  Arts. 
11.  The  death  of  Professor  Chapin  occurred  in  September,  1883. 

THE  APOSTBOPHE. 

Rule  3. — All  nouns  in  the  singular,  and  all  plurals  not 
ending  in  s,  form  their  possessives  by  the  addition  of  the 
apostrophe  and '  s  :   as  — 

The  boy's  hat;  the  men's  books;  the  horse's  mane. 


PUNCTUATION   AND   CAPITALS.  5 

Plurals  ending  in  s  add  the  apostrophe  only :  as  — 
The  boys'  hats;  the  ladies'  books;  the  horses'  manes. 

Rule  4. — The  apostrophe  is  used  to  denote  the  elision 
of  a  letter  or  syllable:  as  — 

Tve  found  it;  he'll  come  to-morrow. 

THE  COMMA. 

Rule  5. — Nouns  in  apposition  are  with  their  modifiers 
to  be  set  off  by  commas:  as  — 

1.  Lear,  Icing  of  Britain,  had  three  daughters.  2.  Mr.  Matthew 
Arnold,  the  eminent  English  poet  and  critic,  arrived  in  Neiv  York 
last  month. 

Note.— If  one  of  the  terms  is  a  general  title,  the  comma  is  omitted;  as, 
Queen  Victoria.     The  apostle  John. 

Rule  6. — Nouns  independent  by  address  must  be  set 
off  by  commas:  as  — 

1.  My  son,  give  me  thy  heart.    2.  0  velvet  bee,  you're  a  dusty 

Rule  7. — A  noun  used  absolutely  with  a  participle 
must  be  set  off  by  commas:  as  — 

His  father  being  dead,  the  prince  ascended  the  throne. 

Note.— The  participle  in  this  phrase  can  always  be  converted  into  a  verb 
having  the  noun  for  its  subject;  as,  When  his  father  died,  the  prince  ascended 
the  throne. 

Exercise  3. — Give  reasons  for  the  marks  used  in  the 
following  sentences. 

1.  Diogenes,  the  Greek  philosopher,  lived  in  a  tub.  2.  Acquire, 
my  daughters,  the  habit  of  doing  everything  well.  3.  0,  are  you 
coin.',  Iago?  4.  The  rain  having  ceased,  the  sun  broke  forth  again. 
5.  The  butterfly,  child  of  the  summer,  flutters  in  the  sun.  6.  The 
king's  crown  was  the  prize. 

Exercise  4. — Punctuate  the  following  examples,  and 
give  reasons. 


6  THE  ELEMENTS  OF   ENGLISH   COMPOSITION". 

1.  Thou  Lord  art  the  light  and  life  of  all  this  glorious  world.  2. 
Tis  excellent  to  have  a  giants  strength.  3.  That  spirit  being  dis- 
missed a  third  arose  in  the  form  of  a  child  crowned.  4.  Brabantio 
a  rich  senator  of  Venice  had  a  fair  daughter  the  gentle  Desdemona. 
5.  Night  has  been  styled  the  astronomers  day.  6.  My  story  being 
done  she  gave  me  for  my  pains  a  world  of  sighs.  7.  Fairest 
Cordelia  thou  art  most  rich  being  poor.  8.  You  are  the  queen  your 
husbands  brothers  wife.  9.  O  sleepless  God  forever  keep  both 
living  and  dead.  10.  The  Queen  was  accompanied  by  her  son 
Edward  Prince  of  Wales.  11.  James  Russell  Lowell  the  United 
States  Minister  to  Great  Britain  is  one  of  the  greatest  of  American 
poets. 

Exercise  5.— Fill  out  the  blanks  with  a  noun  in  the 
possessive.     Make  simple  sentences. 

1.  The decision  was  good.    2.  The rays  were  mild. 

3.  The sports  were  noisy.  4.  The wings  were  beauti- 
ful. 5.  The knives  were  lost.  6.  The life  was  re- 
tired. 7.  My arrival  was  unexpected.  8.  The recep- 
tion was  enthusiastic. 

Exercise  6. — Fill  out  the  blanks  with  a  noun  in  ap- 
position, in  the  vocative  case,  or  combined  with  a  parti- 
ciple.    Make  simple  sentences. 

1.  Nero was  a  great  tyrant.  2.  Messengers  came  to . 

3.  we  resumed  our  journey.     4.  Come  to  see  my 

book.     5.  The  dwelling  was  that  of  .     6.  the  army 

began  its  march.  7.  Accept this  gift.  8.  Her  father  is . 

9.  O help  me  !     10.  the  prisoner  was  released.     11. 

Benedict  Arnold  died  in  obscurity.     12.  her  sister 

returned. 

Rule  8. — Two  words  or  short  phrases  in  the  same 
construction  are  separated  from  each  other  by  the  comma, 
unless  connected  by  a  conjunction:  as  — 

1.  Slowly,  sadly  we  laid  him  down.  2.  Slowly  and  sadly  ive 
laid  him  down. 


PUNCTUATION   AND   CAPITALS.  7 

Rule  9. — 'Contrasted  words  or  phrases  are  separated 
from  each  other  by  the  comma:  as  — 

1.  Truth  is  not  a  stagnant  pool,  but  a  fountain.  2.  It  is  not 
John,  but  Will  Ik  in. 

Rule  10. — If  one  of  two  words  or  phrases  has  a  modi- 
fier that  does  not  belong  also  to  the  other,  the  words  or 
phrases  should  be  separated  from  each  other  by  the 
comma:  as  — 

He  is  to  have  the  house,  and  wood  for  fuel. 

Rule  1 1 . — If  more  than  two  words  or  short  phrases 
are  used  in  the  same  construction  they  must  be  separated 
by  commas:  as  — 

1.  Industry,  honesty,  and  temperance  are  essential  to  happi- 
ness.   2.  Industry,  honesty,  temperance  are  essential  to  happiness. 

Note. — When  all  the  words  are  connected  by  conjunctions  the  commas 
may  be  omitted ;  as,  Industry  and  honesty  and  temperance  are  essential  to  hap- 
piness. 

Rule  12. — Words  in  pairs  take  a  comma  after  each 
pair:  as  — 

Sink  or  swim,  live  or  die,  survive  or  perish,  I  give  my  hand  and 
heart  to  this  vote. 

Exercise  7. — Explain  the  punctuation. 

1.  Truth  and  virtue  are  the  wealth  of  all  men.  2.  Truth,  virtue 
are  the  wealth  of  all  men.  3.  Lend,  lend  your  wings.  4.  For  all 
was  blank,  bleak,  and  gray.  5.  For  all  was  blank  and  bleak  and 
gray.  6.  Though  deep,  yet  clear.  7.  But  not  to  me  returns  day, 
or  the  sweet  approach  of  even  or  morn,  or  sight  of  vernal  bloom,  or 
summer's  rose,  or  flocks,  or  herds,  or  human  face  divine. 

Exercise  8. — Punctuate,  and  give  reasons. 

1.  Punish  guide  instruct  the  boy.  2.  Pay  supreme  and  un- 
divided homage  to  goodness  and  truth.  3.  The  rich  ate  and  drank 
freely.  4  The  college  is  a  large  light  sandstone  structure  with  red 
sandstone  trimming.     5.  Rash  fruitless  war  is  only  splendid  murder. 


8  THE  ELEMENTS  OF  ENGLISH   COMPOSITION. 

6.  Earth  and  sky  land  and  water  mountain  and  valley  bear  traces 
of  divine  workmanship.  7.  He  could  write  and  cipher  too.  8.  The 
babbling  brook  the  azure  sky  the  tangled  fen  of  fern  and  flower.  9. 
A  very  round  face  and  a  very  flat  nose.  10.  The  long  warm  light- 
some summer  day.  11.  They  flew  to  the  better  country  the  upper 
day.  12.  Holly  mistletoe  red  berries  ivy  turkeys  all  vanished 
instantly.  13.  nis  teeth  they  chatter  chatter  chatter.  14.  Bottles 
and  boxes  and  hammers  and  rocks.  15.  His  eyes  had  a  fixed  idiotic 
preposterous  stare.  16.  Dark  dark  was  the  garden.  17.  You  bells 
in  the  steeple  ring  ring  out  your  changes.  18.  He  was  thinking  of 
an  animal  a  live  animal  rather  a  disagreeable  animal.  19.  Free 
was  its  genial  face  its  sparkling  eye  its  open  hand  its  cheery  voice 
its  Unconstrained  demeanor  and  its  joyful  air.  20.  It  is  great  to 
live  to  labor  to  suffer  for  great  public  ends. 

Rule  13. — Participial  and  adjective  phrases  not  re- 
strictive must  be  set  off  by  commas:  as  — 

1.  The  horizon  ivas  of  a  fine  golden  tint,  changing  gradually  into 
a  pure  apple  green.  2.  Brom  Bones,  sorely  smitten  with  love  and 
jealousy,  sat  brooding  by  himself  in  one  comer. 

Note.— To  decide  whether  the  phrase  is  restrictive  or  not,  expand  it  to  a 
clause  and  decide  as  under  Rule  16. 

Rule  14. — Inverted  phrases,  and  phrases  standing  par- 
enthetically between  the  main  parts  of  the  sentence,  are 
generally  set  off  by  commas:  as  — 

1.  To  the  wise  and  good,  old  age  presents  a  scene  of  tranquil 
enjoyment,    2.  Truth,  like  gold,  shines  brighter  by  collision. 

Rule  15. — Adverbs  and  short  phrases  when  used  nearly 
or  quite  independently  are  set  off  by  commas:  as  — 

1.  It  is,  then,  a  mark  of  wisdom  to  live  virtuously.  2.  Punctu- 
ality is,  no  doubt,  a  quality  of  high  importance. 

Exercise  9. — Explain  the  punctuation. 

1.  Roland's  death,  too,  is  supernatural.  2.  The  stranger,  how- 
ever, quickened  his  horse  to  an  equal  pace.  3.  I  threw  open  the 
shutters,  admitting  a  flood  of  brilliant  moonlight.    4.  The  poor 


PUNCTUATION   AND   CAPITALS.  9 

man's  son  inherits  a  patience  learned  by  being  poor.  5.  In  short, 
Master  Edward  bade  fair  to  be  a  literary  wonder.  6.  My  proposi- 
tion is,  therefore,  true.  7.  Others,  perhaps  encumbered  with  too 
much  baggage,  preferred  descending  the  stream. 

Exercise  10. — Punctuate,  and  give  reasons. 

1.  The  English  desperately  assailed  did  not  yield  an  inch.  2. 
'Twas  but  the  car  rattling  o'er  the  stony  street.  3.  Beyond  are 
mountains  piled  on  mountains.  4.  On  the  contrary  he  is  unable  to 
come.  5.  Its  feet  observable  beneath  the  ample  folds  of  the  gar- 
ment were  bare.  6.  There  were  piles  of  filberts  mossy  and  brown 
recalling  in  their  fragrance  ancient  walks  among  the  woods.  7. 
Generally  speaking  his  conduct  is  honorable.  8.  Mrs.  Cratchit  wel- 
comed her  warmly  kissing  her  a  dozen  times  and  taking  off  her 
shawl  and  bonnet  with  officious  zeal.  9.  Now  and  then  too  the 
long-drawn  crowing  of  a  cock  accidentally  awakened  would  sound 
far  far  off  from  some  farm  house  away  among  the  hills.  10.  Its 
limbs  were  gnarled  and  fantastic  large  enough  to  form  trunks  for 
ordinary  trees  twisting  down  almost  to  the  earth  and  rising  again 
into  the  air.  11.  A  few  rough  logs  laid  side  by  side  served  for  a 
bridge  over  this  stream.  12.  Away  then  they  dashed  through 
thick  and  thin  stones  flying  and  sparks  flashing  at  every  bound. 
13.  The  school-house  being  deserted  soon  fell  to  decay.  14.  At  his 
easel  eager-eyed  a  painter  stands. 

Exercise  11. — Fill  out  the  blanks  with  a  participial 
phrase.     Make  simple  sentences. 

1.  The  architect built  the  colonel  a  magnificent  palace. 

2.  He  had  a  low  forehead,  and  small  sharp  eyes .     8.  The 

venerable  man took  his  friend  warmly  by  the  hand.     4.  By 

the  roadside  two  little  beggar  children  lifted  up  their  doleful  voices 

.     5.  The  war-worn  veteran had  signified  his  purpose 

of  returning  to  his  native  valley.  6.  The  years  had  hurried  on- 
ward  .     7.  The  departing  sunshine  fell  upon  them . 

8.  The  orator  began  to  speak . 


10  THE   ELEMENTS   OF   ENGLISH   COMPOSITION. 


PUNCTUATION  OF  THE   COMPLEX   SENTENCE. 

THE   COMMA. 

Rule  16. — The  Noun  clause  seldom  needs  to  be  set  off 
except  when  long,  or  when  resembling  in  form  a  quotation: 

1.  That  you  have  wronged  me  doth  appear  in  this.  2.  Keats 
says,  that  truth  is  beauty  and  beauty  truth. 

Exercise  12. — Punctuate,  and  give  reasons;  describe 
the  use  of  each  noun  clause. 

1.  They  eagerly  inquired  what  bird  it  was.  2.  It  is  an  old  say- 
ing that  open  admonition  is  open  disgrace.  3.  That  the  earth  is 
round  is  now  well  known.  4.  How  he  came  by  it  I  cannot  imagine. 
5.  Who  was  the  author  of  Junius's  letters  is  still  a  mystery.  6.  'Tis 
good  you  know  not  that  you  are  his  heirs.     7.  Whatever  is  is  right. 

Exercise  13. — Form  complex  sentences  by  the  addi- 
tion of  noun  clauses;  describe  the  use  of  each  clause. 

1.  Can  you  tell  me ?    2.  I  could  almost  have  declared 

.     3.  How  shall  I  know ?    4.  When  shall  you  learn 

?    5.     The  truth  of  the  matter  is .     6.     was  a 

mystery  to  all  his  friends.  7.  He  insisted .  8.  A  crow  ob- 
served  .     9.  Nobody  will  ever  know .     10.  The  ancient 

Greeks  believed . 

Rule  17. —  The  Adjective  clause,  when  additional 
or  parenthetical,  must  be  set  off  by  commas:  as  — 

I  thrice  presented  him  a  Jcingly  crown,  which  he  did  thrice 
refuse. 

The  Adjective  clause,  when  restrictive,  is  too  closely 
connected  to  admit  of  the  comma:  as  — 

He  that  leans  on  his  own  strength  leans  on  a  broken  reed. 

Sometimes  a  clause  may  be  punctuated  as  either  addi- 
tional or  restrictive,  but  with  a  different  meaning  for  each 
case. 


PUNCTUATION  AND  CAPITALS.  11 

If  the  clause  is  additional  (that  is,  if  it  merely  adds  a 
thought  without  limiting  the  meaning  of  the  antecedent), 
it  may,  without  change  of  sense,  be  converted  into  an 
independent  clause,  a  co-ordinate  conjunction  and  a  per- 
sonal pronoun  being  put  in  the  place  of  the  relative:  as  — 

I  thrice  presented  him  a  kingly  crown,  and  he  did  thrice  refuse 
it. 

Who  relates  to  persons,  which  to  things,  that  to  either 
persons  or  things.  In  restrictive  clauses,  that  is  general!}7 
to  be  preferred,  if  euphony  allows. 

Note.— That  is  used  in  preference  to  who  or  which  especially  after  the 
superlative  degree,  after  who,  same,  every,  no,  all,  any,  each,  every,  and  fre- 
quently after  the  personal  pronouns.— Kerl's  Grammar. 

Exercise  14. — Explain  the  punctuation. 

1.  Thou  art  the  ruins  of  the  noblest  man  that  ever  lived  in  the 
tide  of  times.  2.  Age,  that  lessens  the  enjoyments  of  life,  increases 
the  desire  of  living.  8.  The  man  that  had  the  line  in  his  hand  went 
forth  eastward.     4.  I,  that  denied  thee  gold,  will  give  ray  heart. 

Exercise  15. — Punctuate,  and  give  reasons. 

1.  His  entrance  was  unheard  by  the  officer  who  sat  gazing  at  the 
fire.  2.  Curses  always  recoil  on  the  head  of  hira  who  imprecates  them. 
3.  We  naturally  look  with  strong  emotion  to  the  spot  where  the 
ashes  of  those  whom  we  love  repose.  4.  Woe  to  the  hands  that  shed 
this  costly  blood.  5.  He  pointed  silently  to  the  fire  toward  whicli 
the  figure  advanced.  6.  There  are  men  living  who  could  say  that 
my  life  was  nothing  to  me  compared  to  my  love  for  you.  7.  I  did 
send  to  you  for  certain  sums  of  gold  which  you  denied  me.  8.  Self- 
respect  is  the  noblest  garment  with  which  a  man  may  clothe  himself. 
9.  Ichabod  who  had  no  relish  for  this  strange  midnight  companion 
now  quickened  his  steed.  10.  The  rich  accepted  gout  and  apoplexy 
as  things  that  ran  mysteriously  in  respectable  families. 

Exercise  16.— Fill  out  the  blanks  with  adjective 
clauses  ;  justify  your  punctuation. 

1.  They  could  find  only  one  apartment .     2.  My  children 

appeared  transported  with  joy.    3.  Show  me  the  room . 


12  THE  ELEMENTS  OP  ENGLISH  COMPOSITION. 

4.  He  remembered  all  the  joyous  scenes .    5.  I  look  with  pity 

on  the  crowds .     6.  He never  can  be  wise.     7.  I  am 

satisfied  with  those  pleasures .    8.  Have  you  forgotten  the 

precepts ?    9.  Only  those  books  come  down  to  us .     10. 

They  all  joined  in  lamenting  the  exile  of  the  man . 

Rule  18. — Adverb  clauses  must  be  set  off  from  the 
rest  of  the  sentence  by  the  comma  unless  the  connection 
is  close.  The  comma  is  especially  necessary  if  the  clause 
stands  parenthetically  between  the  parts  of  the  principal 
clause,  or  if  by  inversion  it  stands  first:  as  — 

1.  As  they  walked  along  the  bank  of  the  river,  they  saw  at  a 
little  distance  an  old  man.  2.  The  ship  heaved  so  that  her  keel  stood 
in  air. 

Exercise  17. — Punctuate,  and  give  reasons. 

1.  When  Phemy  entered  the  cave  the  laird  was  nowhere  to  be 
found.  2.  We  heard  a  terrific  noise  as  if  torrents  of  water  were 
rolling  down  the  mountain.  3.  How  much  kinder  Heaven  is  to  us 
than  we  are  to  each  other!  4.  Though  He  slay  me  yet  will  I  trust 
in  Him.  5.  If  you  would  not  be  known  to  do  a  thing  never  do  it. 
6.  If  He  but  touch  the  mountains  they  smoke.  7.  Language  was 
given  us  that  we  might  say  pleasant  things  to  each  other.  8.  The 
little  one  slumbered  on  as  gently  as  if  it  had  been  rocked  in  a  lace- 
trimmed  cradle. 

Exercise  18.— Fill  out  the  blanks  with  adverb 
clauses,  describe  their  use,  and  justify  your  punctuation. 

1.  The  stranger  heard  some  one  cry  for  help .     2.  He 

gladly  returned  home .     3.  How  are  you  so  unhappy ? 

4.  Not  one  of  them  had  brought  the  crowns  for  his  ransom . 

5.  I  will  obey  them  in  this .     6.  They  resolved  to  detain  him 

.     7.  She  was  considered  so  wise  a  princess .     8.  His 

diligence  was  so  remarkable .     9.  Great  talent  will  be  of  little 

avail .     10.  The  king  reigned  but  a  short  time . 


PUNCTUATION   AND   CAPITALS.  13 


PUNCTUATION  OF  THE   COMPOUND 
SENTENCE. 

COMMA,  SEMICOLON,  AND  COLON. 

Rule  19. — A  comma  takes  the  place  of  an  omitted 
noun  or  verb,  particularly  if  without  the  comma  the 
meaning  is  not  clear:  as  — 

Homer  was  the  greater  genius;   Virgil,  the  better  artist. 

Rule  20. —  The  parts  of  a  compound  predicate,  es- 
pecially if  long  and  differently  modified,  must  be  sepa- 
rated from  each  other  by  the  comma:  as  — 

In  the  best  books  great  men  talk  to  us,  give  us  their  most  precious 
thoughts,  and  pour  their  souls  into  ours. 

Rule  21. —  If  the  clauses  of  the  compound  sentence 
are  short,  or  if  they  are  closely  connected,  the  comma  is 
generally  sufficient:  as  — 

The  Normans  rallied,  and  the  day  was  lost. 

Rule  22. —  If  the  clauses  of  the  compound  sentence 
are  long,  or  not  closely  connected,  the  semicolon,  or  even 
a  colon  should  be  used:  as  — 

1.  Bolts  and  bars  are  not  the  best  of  our  institutions;  nor  is 
slm  irdness  in  trade  a  mark  of  wisdom.  2.  In  every  work  of  genius 
we  recognize  our  own  rejected  thoughts:  they  come  back  to  us  with 
a  sort  of  alienated  majesty. 

Rule  23. —  The  clauses  of  a  compound  sentence,  if 
they  contain  commas  within  themselves,  are  commonly 
separated  from  each  other  by  the  semicolon;  if  they  con- 
tain semicolons,  they  are  commonly  separated  from  each 
other  by  colons:  as  — 

Then  shook  the  hills,  with  thunder  riven;  then  rushed  the  steed  to 
battle  driven. 


14  THE   ELEMENTS   OF   ENGLISH   COMPOSITION. 

Exercise  19. —  Punctuate  and  give  reasons.  (Study 
also  the  punctuation  of  "  Oleon  and  I,"  page  159.) 

1.  It  is  excellent  to  have  a  giant's  strength  but  it  is  tyrannous  to 
use  it  as  a  giant.  2.  Economy  is  no  disgrace; it  is  better  to  live  on 
a  little, than  to  outlive  a  great  deal.  3.  A  wise  man  seeks  to  out- 
shine himself;  a  fool,,  to  outshine  others.  4.  He  doth  nothing  but 
talk  of  his  horse;  and  he  makes  it  a  great  appropriation  to  his  own 
good  parts  that  he  can  shoe  him  himself.  5.  His  knife  is  still  in 
his  hand  and  strength  in  his  sinews,  anda  new  created  aspiration  in 
his  heart.  6.  Time  went  on^and  at  last, here  in  this  hand  of  mine, I 
held  the  wedding  license.  7.  There  is  nothing  more  universally 
commended  than  a  fine  day;the  reason  is  that  people  can  commend 
it  without  envy.  8.  An  egotist  always  speaks  of  himself  either  in 
praise  or  censure  but  a  modest  man  shuns  making  himself  the  sub- 
ject of  his  conversation.  9.  Knavery  is  supple,  and  can  bend  but 
honesty  is  firm  and  upright,  and  yields  not.  10.  Beware  of  little 
expenses: a  small  leak  will  sink  a  great  ship. 

11.    She  walks  beside  the  silent  shore. 

The  tide  is  high  the  breeze  is  still; 
No  ripple  breaks  the  ocean-floor, 

The  sunshine  sleeps  upon  the  hill. 

Exercise  20. —  Complete  these  compound  sentences 
by  the  addition  of  one  or  more  independent  clauses. 
Attend  carefully  to  the  punctuation. 

1.  Experience  keeps  a  dear  school .  2.  The  count  doubt- 
less desired  to  deal  justly .     3.   Lord  Bacon  was  convicted  of 

receiving  bribes .     4.    The  next  morning  we  all  set  forward 

together  .     5.    Columbus  conceived  the  world  to  be  round 

.     6.    I  was  not  content  with  my  situation .     7.    The 

king  himself  was  thought  to  be  among  the  slain .     8.  Yonder 

palace  was  raised  by  single  stones .     9.    He  spent  some  time 

in  wandering  among  the  mountains .     10.  You  will  doubtless 

either  squander  your  wealth  by  negligence .     11.    Knowledge 

will  always  predominate  over  ignorance . 


PUNCTUATION   AND   CAPITALS.  15 

EXCLAMATION  POINT. 

Rule  24. —  Interjections,  and  exclamatory  words, 
phrases,  and  sentences,  must  be  followed  by  the  exclama- 
tion point  :  as  — 

1.  0  that  I  had  the  wings  of  a  dove!  2.  Oh!  how  vain  and 
transitory  are  all  things  here  below!  3.  Rouse,  ye  Romans!  rouse, 
ye  slaves!  4.  Ha,  ha,  ha!  5.  Hark!  hark!  I  hear  footsteps! 
(For  other  examples  see  Exercise  64.) 

INTERROGATION  POINT. 

Rule  25. — Every  sentence  or  expression  asking  a 
direct  question  must  be  followed  by  the  interrogation 
point:  as  — 

1.  Why  did  you  come  so  late?  2.  Where  be  your  gibes  now? 
your  gambols?  your  songs?  your  bursts  of  merriment,  that  were  wont 
to  set  the  table  in  a  roar?    (For  other  examples  see  Exercise  63.) 

The  interrogation,  when  used  where  in  the  declarative 
sentence  a  colon  or  semicolon  would  be  used,  must,  like 
the  colon  or  semicolon,  be  followed  by  a  small  letter.  (See 
last  example  above.) 

Exercise  21. — Punctuate,  and  give  reasons. 

1.  0  God  have  mercy  on  Thy  child 

Whose  faith  in  Thee  grows  weak  and  small 
And  take  me  ere  I  lose  it  all 

2.  Had  then  God  heard  her    Had  he  sent 
His  angel  down  .  In  flesh  and  blood 
Before  her  Esek  Harden  stood 

3.  Oh  for  the  purple  harvests 

Of  the  days  when  I  was  young 
For  the  merry  grape-stained  maidens 
And  the  pleasant  songs  they  sung 
4    I  pray  you  what  is  the  nest  to  me. 
My  empty  nesti 


16  THE  ELEMENTS  OF  ENGLISH  COMPOSITION. 

And  what  is  the  shore  where  I  stood  to  see 

My  boat  sail  down  the  west . 
Can  I  call  that  home  where  I  anchor  yet 

Though  my  good  man  has  sailed 
Can  I  call  that  home  where  my  nest  was  set 
Now  all  its  hope  hath  failed 
5.  Who  does  not  love  the  Marchioness  and  Mr.  Richard  Swiveller  • 
Who- does  not  sympathize, not  only  with  Oliver  Twist  ,but  his  admir- 
able young  friend  the  Artful  Dodger    Who  does  not  bless  Sairey 
Gamp  and  wonder  at  Mrs.  Harris 

THE  DASH. 

Rule  26. —  The  dash  is  used  to  denote  a  sudden  break 
in  the  sentence,  or  a  suspension  of  thought:  as  — 

1.  He  had  no  malice  in  his  mind, — no  ruffles  on  his  shirt.  2.  I 
take  —  eh!  oh!  —  as  much  exercise  as  I  can,  Madam  Gout.  3.  Upon 
that  I  kiss  your  hand,  and  I  call  you  —  my  queen. 

Rule  27. —  Either  dashes  or  marks  of  parenthesis 
may  be  used  to  enclose  an  expression  parenthetical  in 
character,  but  too  independent  in  construction  to  admit 
of  the  comma:  as  — 

1.  I  delight  and  wonder  at  Mr.  Dickens's  genius  ;  I  recognize  in 
it  —  I  speak  with  awe  and  reverence  —  a  commission  from  the  Di- 
vine Beneficence.  2.  Approach  and  read  (for  thou  canst  read)  the 
lay  graved  on  the  stone  beneath  yon  aged  thorn. 

Exercise  22. —  Punctuate  and  explain. 

1.  Isaac  of  York -for  it  was  our  old  friend-was  at  length  able  to 
explain.  2.  Children  dear;  was  it  yesterday- call  yet>  once- that  she 
went  away*  3.  "Lovely "  -  "Stop'"-  said  Mr.  Weller  ringing  the 
bell.  4.  I  ehem  I  forget.  5.  Perhaps  he  did  see  Nora-Heaven  only 
knows -and  so  died.  6.  Who  does  not  venerate  the  chief  of  that 
illustrious  family  who ,  being  stricken  by  misfortune  wisely  and 
greatly  turned  his  attention  to  coals-the  accomplished-the  epicurean 
the  dirty-the  delightful  Micawber  ? 


PUNCTUATION  AND  CAPITALS.  17 

7.  Thou  little  tricksy  puck 

With  antic  toys  so  funnily  bestuck 

Light  as  the  singing  bird  that  wings  the  air 

The  door  the  door  he'll  tumble  down  the  stair,  - 

Thou  darling  of  thy  sire  - 
-Why  Jane  he'll  set  his  pinafore  afire  - 

Thou  imp  of  mirth  and  joy, 
In  love's  dear  chain  so  strong  £0  bright  a  link 
Thou  idol  of  thy  parents, -Drat  the  boy/ 

There  goes  my  ink  I 

THE    HYPHEN. 

Rule  28. —  The  hyphen  is  used  to  connect  the  parts  of 
a  compound  word:  as  — 

Dining-table.    Fellow-student, 

Rule  29. —  The  hyphen  is  placed  at  the  end  of  a  line 
to  show  that  a  part  of  the  last  word  has  been  carried  over 
to  the  next  line:  as — 

It  was  the  hail  of  William  Rufus,  the  hall  which  had  re- 
sounded with  acclamations  at  the  inauguration  of  thirty  kings, 

THE  CARET. 

Rule  30. —  If  a  letter,  word,  or  expression  is  omitted, 
place  a  caret  where  the  omission  occurs,  and  interline  the 

omitted  part:  as  — 

vMh 
The  old  walls  were  hung  A  scarlet, 

THE  QUOTATION  MARKS. 

Rule  31. —  A  direct  quotation  is  enclosed  within  quo- 
tation marks;  the  inverted  commas  are  placed  at  the 
beginning  and  the  apostrophes  at  the  close.  If  by  the 
introduction  of  explanatory  remarks,  as,  he  said,  the  quo- 


18  THE   ELEMENTS   OF   ENGLISH   COMPOSITION. 

tation  is  separated  into  parts,  each  part  must  be  enclosed 
within  quotation  marks. 

Rule  32. —  A  quotation  within  a  quotation  is  enclosed 
in  single  quotation  marks.     (See  pages  35  and  36.) 

Rule  33. —  In  a  succession  of  quoted  paragraphs  the 
inverted  commas  are  used  at  the  beginning  of  each  para- 
graph, but  the  apostrophes  are  used  at  the  close  of  the 
last  paragraph  only.     (See  pages  35  and  36.) 

Remark  1.  —  The  first  word  of  a  direct  quotation 
begins  with  a  capital.  This  must  be  understood  to  refer 
to  the  whole  quotation,  not  to  the  parts  into  which  it  may 
be  divided  by  explanatory  remarks.  The  capitalization 
within  the  quotation  must  be  determined  by  the  ordinary 
rules.  If  the  quotation  consists  of  a  single  word  or  a  part 
of  a  sentence  the  capital  is  not  generally  used. 

Remark  2. —  A  direct  quotation  is  generally  preceded 
by  a  colon;  if  the  quotation  consists  of  but  a  single  sen- 
tence the  comma  is  often  used. 

Remark  3. —  An  exclamation  or  interrogation  point,  if 
belonging  to  the  quotation,  must  stand  within  the  quota- 
tion marks. 

Apply  the  preceding  rules  to  the  following  examples: 

1.  "Civility,"  said  Lady  Montague,  "costs  nothing  and  buys 
everything."  2.  "Beginning  retreat!"  cried  Napoleon.  3.  "To 
the  persevering  mortal,"  said  Zoroaster,  "the  blessed  Immortals  are 
swift."  4.  Some  one  has  said,  "What  an  argument  for  prayer  is 
contained  in  the  words,  '  Our  Father,  which  art  in  Heaven! '  "  (For 
further  Examples  and  for  the  distinction  between  Direct  and  Indi- 
rect Quotation  see  Principle  XVII.) 

Exercise  23. —  Punctuate,  and  give  reasons. 

1.  Eye  has  not  seen!  repeated  blind  Muriel  thoughtfully  can 
people  see  there 

Yes  my  child    There  is  no  darkness  at  all 


PUNCTUATION    AND   CAPITALS.  19 

She  paused  a  minute,  and  said  earnestly  I  want  to  go  —  I  want 
very  much  to  go  How  long  do  you  think  it  will  be  before  the 
angels  come  for  me 

Many  many  years  my  precious  one  said  I  shudderingly  for  truly 
she  looked  so  like  them  that  I  began  to  fear  they  were  close  at  hand 

2.  Enderley  is  just  the  same  said  John.  Twelve  years  have 
made  no  change  —  except  in  us.  And  he  looked  fondly  at  his  wife. 
I  think  the  chorus  and  comment  on  all  life  might  be  included  in 
two  brief  phrases  given  by  our  friend  Shakespeare,  one  to  Hamlet 
the  other  to  Othello    Tis  very  strange  and  'Tis  better  as  it  is. 

3.  Passengers  and  crew  men  women  and  children  crowded  the 
forward  part  of  the  ship.  John  Maynard  stood  at  the  helm.  The 
flames  burst  forth  in  a  sheet  of  fire.  Clouds  of  smoke  arose.  The 
Captain  cried  out  through  his  trumpet 

John  Maynard 

Aye  aye  sir 

Are  you  at  the  helm 

Aye  aye  sir 

How  does  she  head 

South-east  by  east  sir 

Head  her  south-east  and  run  her  ashore,  said  the  Captain 

COMBINATION  OF  DETACHED  ELEMENTS. 

By  the  expression  detached  elements  is  meant  the  dif- 
ferent statements  into  which  a  sentence  may  be  resolved. 
Take  for  example  the  following  sentence: 

Having  these  powerful  spirits  obedient  to  his  will,  Frospero 
coxdd,  by  their  means,  command  the  winds  and  the  waves  of  the  sea. 

This  may  be  resolved  into  the  following  detached  ele- 
ments: 

Prospero  had  these  spirits  obedient  to  his  will.  They  were  pow- 
erful spirits.  Prospero  could  command  the  winds.  lie  could  com- 
mand the  waves  of  the  sea.  This  he  could  do  by  means  of  these 
spirits. 


20  THE  ELEMENTS  OF  ENGLISH   COMPOSITION. 

Exercise  24. —  Below  are  given  several  groups  of 
detached  elements.  You  are  required  to  combine  each 
group  into  one  well  arranged  simjrfe  sentence. 

Example  of  Detached  Elements. — Henry  of  Navarre  was 
placed  upon  the  throne  of  France.  It  was  done  by  a  tragical  event. 
It  was  done  suddenly.    lie  was  the  great  champion  of  Protestantism. 

Combined. — Suddenly,  and  by  a  tragical  event,  Henry  of 
Navarre,  the  great  champion  of  Protestantism,  was  placed  upon  the 
throne  of  France. 

1.  The  negotiations  had  been  nearly  concluded.  This  had  been 
done  by  the  Earl  of  Bristol.  He  was  a  special  ambassador  to  the 
court.  The  court  was  that  of  the  young  king  Philip  IV.  Philip 
IV.  was  brother  of  the  Infanta.  The  negotiations  were  for  the 
marriage  of  Charles  with  the  Spanish  princess. 

2.  They  advanced  against  the  champions.  They  advanced  to- 
gether. Their  spears  were  levelled.  Their  ranks  were  closed.  It 
was  a  sight  to  make  the  bravest  shrink. 

3.  Washington  possessed  ample  means.  He  resided  upon  his 
estate  in  Virginia.  This  estate  was  called  Mt.  Vernon.  lie  was  a 
plain  country  gentleman.  He  managed  his  property  with  a  skilful 
economy.  He  engaged  in  field  sports.  He  read  and  meditated 
upon  the  past  and  the  present.  This  he  did  with  intelligent 
curiosity. 

4.  The  eagle  was  the  general  of  the  birds.  He  was  hard  pressed 
by  his  enemies.  His  enemies  were  the  beasts.  He  sent  the  bat  his 
commands  to  join  the  army  of  the  birds.  The  swallow  carried  his 
commands.     It  was  in  vain. 

5.  Pan  was  a  rustic  god.  He  was  a  delightful  creature.  He  was 
a  grotesque  creature.  He  had  goat's  horns  and  a  tail.  He  had  a 
beard,  a  pug-nose,  and  hoofs.  Apollo  once  got  into  a  quarrel  with 
him.  This  was  during  Apollo's  exile  from  heaven.  It  was  while 
he  was  wandering  about  on  earth. 

6.  Suddenly  Pluto  appeared.  Pluto  is  the  stern  god  of  the  un- 
derworld. The  entrance  of  Hades  yawned.  Pluto  rose  up  from  it. 
He  was  in  his  chariot.  He  drove  four  coal-black  horses.  The 
horses  were  snorting  flames  and  smoke  from  their  nostrils. 

7.  Every  year  these  birds  visited  the  tomb  of  Memnon.    They 


PUNCTUATION   AND   CAPITALS.  21 

were  faithful  and  loving  birds.  They  cleared  the  ground  of  weed*. 
They  brought  water  in  the  hollow  of  their  wings.  They  brought  it 
from  the  river  JRaopUB.  With  this  water  they  sprinkled  the 
ground.     They  kept  it  green. 

8.  ITere  he  found  the  king  of  day.  The  king  was  dressed  in  a 
purple  garment.  It  was  splendid.  He  was  seated  on  a  throne. 
The  throne  sparkled  all  over  with  brilliant  emeralds,  lb'  had  a 
diadem  upon  his  head.     The  diadem  had  bright,  rays. 

!>.  The  huntsman  was  brave.  He  was  Sushed  with  victory.  He 
boldly  dared  the  stranger  to  appear  and  maintain  his  claim  to  the 
queen  of  the  valley.  The  stranger  was  the  one  who  wore  the  white 
Jerkin.    The  beautiful  Clothilde  was  the  queen  of  the  valley. 

10.  He  pawed  in  at  the  central  door,  lie  slipped  softly  over  the 
Roof  of  mosaics.  He  knelt.  His  companion  knelt.  They  knelt  at 
the  little  altar  of  the  Virgin.     The  altar  was  upon  the  left. 

11.  A  priest,  paused  out  of  the  temple  gates.  This  he  did  ten 
days  before  the  festival.  lie  was  dressed  in  the  livery  of  the  god. 
He  bore  a  bunch  of  flowers  in  one  hand.  He  bore  a  little  flute  of 
cl.i v  in  the  other. 

Exercise  25. — Combine  eacb  of  the  following  groups 
so  as  to  make  one  well  arranged  complex  or  compound 
complex  sentence. 

1.  Pocahontas  was  a  beautiful  Indian  girl.  She  had  saved  the 
life  of  Smith.  She  was  married  to  a  young  Englishman.  His  name 
was  John  Uolfe. 

2.  An  English  force  soon  after  landed  at  Dieppe.  It  was  under 
the  command  of  Lord  Willoughby.  This  assistance  was  timely. 
The  king  was  thus  encouraged  to  continue  the  contest.  The  contest 
might  otherwise  have  been  hopeless. 

3.  Robert  was  the  eldest  son  of  the  Earl  of  Essex.  He  was  born 
in  1667.  He  was  to  bo  brought  up  in  the  household  of  Lord  Bur- 
leigh.    This  was  at  the  request  of  the  Earl. 

4.  In  15G0  a  Dominican  monk  became  pope,  ne  was  a  monk  of 
theseTerest  life,  lie  was  a  zealot.  He  had  distinguished  himself 
as  an  inquisitor.     He  assumed  the  title  of  Pins  V. 

5.  The  fighting  went  on.     It  became  evening.     Then  the  royal- 


22  THE   ELEMENTS   OF   ENGLISH   COMPOSITION". 

ists  had  a  decided  advantage.    They  compelled  the  enemy  to  retire 
from  the  town. 

6.  Prince  Henry  died.  It  was  in  his  nineteenth  year.  It  was 
after  a  short  illness.    It  was  on  the  6th  of  November.    It  was  in  1012. 

7.  London  was  startled.  There  was  extraordinary  news.  The 
Prince  of  Wales  had  gone  to  Madrid.  Villiers  had  gone  to  Madrid. 
They  had  gone  privately.    Villiers  was  now  Marquis  of  Buckingham. 

8.  A  slave  made  his  escape  from  a  cruel  master.  He  made  his 
escape  to  a  forest.  Here  night  surprised  him.  He  was  forced  to 
take  refuge  in  a  cave. 

9.  Andre  had  crossed  the  river.  He  intended  to  proceed  on 
horseback  to  New  York.  He  passed  through  the  American  lines. 
This  he  did  safely.  He  was  again  on  neutral  ground.  Here  he  was 
seized  by  three  men.    They  were  of  the  American  militia. 

10.  The  lion  held  out  its  paw.  Androcles  examined  it.  He 
found  it  inflamed  and  swollen.  He  looked  more  closely.  A  thorn 
had  pierced  the  ball  of  the  foot.     Prom  this  the  lion  was  suffering. 

11.  The  British  troops  had  exclusive  possession  of  Boston.  They 
were  harassed  by  the  activity  of  the  patriots.  This  activity  was 
incessant.  They  were  harassed  for  a  month.  The  patriots  cut  off 
the  supplies  from  the  interior. 

12.  The  invading  band  marched  toward  the  town.  They  bore  a 
tri-colored  flag.  An  eagle  surmounted  the  flag.  Three  soldiers 
from  Boulogne  had  joined  them.  A  young  lieutenant  from  Bou- 
logne had  joined  them.  He  was  lieutenant  of  the  42d,  and  his  name 
was  Aladenise. 

Exercise  26. —  Combine  each  of  the  following  groups 
so  as  to  make  one  well  arranged  compound,  or  contracted 
compound  sentence. 

1.  They  purchased  the  Speedwell.  They  hired  the  Mayflower. 
The  Speedwell  was  a  vessel  of  forty  tons.  The  Mayflower  carried 
a  hundred  and  eighty  tons. 

2.  It  was  a  bloody  struggle.  The  General  lost  six  thousand 
men.  He  evacuated  Innspruck.  This  he  did  immediately.  He 
marched  out  of  the  Tyrolese  territory.  He  finally  collected  his 
army  at  Salzburg.     His  army  was  reduced  to  fragments. 


PUNCTUATION   AND   CAPITALS.  23 

3.  They  rode  forward.  They  aimed  a  straight  course  for  the 
Ohio  River.  They  rode  during  the  whole  night.  They  did  not  stop 
to  rest.  They  halted  in  the  morning.  It  was  for  a  short  time. 
They  travelled  all  that  day.    They  travelled  the  following  night. 

4.  Washington  determined  to  make  no  further  attempt  to  hold 
Long  Island.  He  embarked  his  troops  in  boats.  He  landed  them 
in  safety  in  New  York.  He  did  the  same  with  the  military  stores 
and  artillery.  AIT  this  was  done  with  a  prudence  and  ability  which 
was  consummate.     During  the  time  he  was  favored  by  a  dense  fog. 

5.  Then  the  neat  cottages  were  stripped  of  every  article  of  fur- 
niture. Ilere  hundreds  of  families  had  lived  in  comfort.  They 
were  once  cheerful  dwellings.  Their  doors  were  closed.  The  fami- 
lies were  wandering  about  the  country.  They  were  seeking  relief 
from  private  charity.     This  relief  the  parishes  could  not  supply. 

6.  Aladdin  wants  food.  The  Genie  has  vanished.  Straightway 
slaves  come  in.  They  come  from  some  unknown  quarter.  They 
bring  dishes.  The  dishes  are  of  gold  and  silver.  They  are  heaped 
up  with  meats  and  fruits. 

7.  The  general  struggled  bravely.  Ilis  object  was  to  carry  his 
men  through  this  wasting  fire.  His  troops  sustained  the  unequal 
contest.  This  they  did  for  some  time.  The  head  of  the  column 
began  to  give  way.  It  began  to  settle  heavily  back  upon  the  army 
below.     No  soldier  will  long  contend  in  such  a  useless  struggle. 

8.  It  seemed  impossible  to  advance.  But  Cohorn  was  heroic. 
He  flung  himself  in  front.  He  cheered  them  on.  They  returned 
to  the  charge.  They  drove  over  the  crashing  timbers.  It  was  like 
an  impetuous  torrent. 

9.  The  keepers  held  the  wicket  gate  open.  The  people  hastened 
in.  They  were  wearied.  They  were  covered  with  dust.  Achilles 
followed  close  upon  them. 

10.  Washington  embarked  alx>ut  half  his  forces  on  the  Dela- 
ware. This  was  on  the  evening  of  Christmas.  He  continued  his 
passage  through  the  night.  His  passage  was  impeded  by  floating 
ice.  He  struggled  with  snow-storms.  He  landed  his  men  at  Tren- 
ton. This  he  did  at  eight  o'clock  in  the  morning.  He  surprised 
the  outposts  of  the  Hessians.  He  made  the  main  body  prisoners. 
This  he  did  with  very  slight  loss  on  his  own  side. 


24  THE  ELEMENTS  OF  ENGLISH   COMPOSITION. 


EXERCISES  IN   COMPOSITION. 

You  are  now  to  have  some  exercises  in  connected  com- 
position. The  first  exercise  may  be  called  Reproduction. 
The  poems  given  are  to  be  reproduced  in  prose.  Read 
the  poem  until  you  thoroughly  understand  it,  then  lay  it 
aside,  and  using  the  list  of  Topics  to  aid  your  memory 
write  out  the  story  in  your  own  words.  Be  careful:  (1) 
To  make  a  continuous  story,  all  the  points  of  which 
may  be  understood  without  a  knowledge  of  the  poem.  (2) 
To  tell  it  fidly  enough  to  make  a  pleasing  effect.  (3)  To 
preserve  the  proper  proportion  of  parts.  (4)  To  avoid 
rhyme.  (5)  To  avoid  the  language  of  the  poem.  In 
reading  the  poem,  consider  well  which  parts  are  essential, 
and  which  might  be  omitted  without  breaking  the  connec- 
tion, and,  of  the  more  important  parts,  which  demand 
most  time. 

REPRODUCTION  I.* 

THE  LEAK  IN  THE  DIKE. 

The  good  dame  looked  from  her  cottage 

At  the  close  of  the  pleasant  day, 
And  cheerily  called  to  her  little  son, 

Outside  the  door  at  play : 
"  Come,  Peter,  come!  I  wan|  you  to  go, 

While  there  is  light  to  see, 
To  the  hut  of  the  blind  old  man  who  lives 

Across  the  dike,  for  me  ; 

*To  the  Teacher.— The  exchange  and  criticism  of  papers  by  members  of 
the  class  is  an  exceedingly  profitable  exercise.  For  marks  to  be  used  in  criti- 
cism, see  page  173. 


PUNCTUATION"  AND  CAPITALS.  25 

And  take  these  cakes  I  made  for  him  — 

They  are  hot  and  smoking  yet: 
You  have  time  enough  to  go  and  come 

Before  the  sun  is  set." 

Then  the  good  wife  turned  to  her  labor, 

Humming  a  simple  song, 
And  thought  of  her  husband  working  hard 

At  the  sluices  all  day  long, 
And  set  the  turf  a-blazing, 

And  brought  the  coarse  black  bread, 
That  he  might  find  a  fire  at  night, 

And  find  the  table  spread. 

And  now  with  face  all  glowing, 

And  eyes  as  bright  as  the  day 
With  the  thought  of  his  pleasant  errand, 

He  trudged  along  the  way; 
And  soon  his  joyous  prattle 

Made  glad  a  lonesome  place. 
Alas!  if  only  the  blind  old  man 

Could  have  seen  that  happy  face! 
Yet  he  somehow  caught  the  brightness 

Which  his  voice  and  presence  lent, 
And  felt  the  sunshine  come  and  go 

As  Peter  came  and  went. 

And  now  as  the  day  was  sinking, 

And  the  wind  l^egan  to  rise, 
The  mother  looked  from  her  door  again, 

Shading  her  anxious  eyes, 
And  saw  the  shadows  deepen, 

And  birds  to  their  home  come  back, 
But  never  a  sign  of  Peter 

Along  the  level  track. 
But  she  said,  "  He  will  come  at  morning: 

So  I  need  not  fret  or  grieve 
Though  it  isn't  like  my  boy  at  all 

To  stay  without  my  leave." 


THE   ELEMENTS   OF   ENGLISH   COMPOSITION. 

But  where  was  the  child  delaying? 

On  the  homeward  way  was  he, 
And  across  the  dike,  while  the  sun  was  up 

An  hour  above  the  sea. 
He  was  stooping  now  to  gather  flowers, 

Now  listening  to  the  sound 
Of  the  wrathful  waters  dashing 

Against  their  narrow  bound. 
"  Ah,  well  for  us! "  said  Peter, 

"  That  the  gates  are  good  and  strong; 
And  ray  father  tends  them  carefully, 

Or  they  would  not  hold  you  long. 
You're  a  wicked  sea! "  said  Peter, 

"  I  know  why  you  fret  and  chafe: 
You  would  like  to  spoil  our  lands  and  homes; 

But  our  sluices  keep  you  safe." 

But  hark!  through  the  noise  of  waters 

Comes  a  low,  clear,  trickling  sound; 
And  the  child's  face  pales  with  terror 

As  his  blossoms  drop  to  the  ground. 
He  is  up  the  bank  in  a  moment ; 

And  stealing  through  the  sand 
He  sees  a  stream  not  yet  so  large 

As  his  slender  childish  hand. 
yTis  a  leak  in  the  dike!    He  is  but  a  boy 

Unused  to  fearful  scenes ; 
But,  young  as  he  is,  he  has  learned  to  know 

The  dreadful  thing  that  means. 
A  leak  in  the  dike!    The  stoutest  heart 

Grows  faint  that  cry  to  hear, 
And  the  bravest  man  in  all  the  land 

Turns  white  with  mortal  fear: 
For  he  knows  the  smallest  leak  may  grow 

To  a  flood  in  a  single  night ; 
And  he  knows  the  strength  of  the  cruel  sea 

When  loosed  in  its  angry  might. 


PUNCTUATION  AND   CAPITALS.  27 

And  the  boy  —  he  has  seen  the  danger ; 

And,  shouting  a  wild  alarm, 
He  forces  back  the  weight  of  the  sea 

With  the  strength  of  his  single  arm. 
He  listens  for  the  joyful  sound 

Of  a  footstep  passing  nigh, 
And  lays  his  ear  to  the  ground  to  catch 

The  answer  to  his  cry ; 
And  he  hears  the  rough  winds  blowing, 

And  the  waters  rise  and  fall : 
But  never  an  answer  comes  to  him 

Save  the  echo  of  his  call. 

He  sees  no  hope,  no  succor; 

His  feeble  voice  is  lost: 
Yet  what  shall  he  do  but  watch  and  wait, 

Though  he  perish  at  his  post 
So,  faintly  calling  and  crying 

Till  the  sun  is  under  the  sea, 
Crying  and  moaning,  till  the  stars 

Come  out  for  company, — 
He  thinks  of  his  brother  and  sister 

Asleep  in  their  safe  warm  bed ; 
He  thinks  of  his  father  and  mother; 

Of  himself,  as  dying  —  and  dead ; 
And  of  how,  when  the  night  is  over, 

They  must  come  and  find  him  at  last: 
But  he  never  thinks  he  can  leave  the  place 

Where  duty  holds  him  fast. 

The  good  dame  in  the  cottage 

Is  up  and  astir  with  the  light, 
For  thought  of  her  little  Peter 

Has  been  with  her  all  night; 
And  now  she  watches  the  pathway, 

As  yester-eve  she  had  done  — 
But  what  does  she  see  so  strange  and  black 

Against  the  rising  sun? 


THE  ELEMENTS  OF   ENGLISH  COMPOSITION. 


Her  neighbors  are  bearing  between  them 

Something  straight  to  her  door; 
Her  child  is  coming  home  —  but  not 

As  he  ever  came  before. 

"  He  is  dead! "  she  cries— "my  darling!" 

And  the  startled  father  hears, 
And  comes,  and  looks  the  way  she  looks, 

And  fears  the  thing  she  fears, 
Till  a  glad  shout  from  the  bearers 

Thrills  the  stricken  man  and  wife : 
"  Give  thanks,  for  your  son  has  saved  our  land, 

And  God  has  saved  his  life!" 
So  there,  in  the  morning  sunshine, 

They  knelt  about  the  boy; 
And  every  head  was  bared,  and  bent 

In  tearful,  reverent  joy. 


Phoebe  Cary. 


Discussion. - 


Conclusion.— (- 


TOPICAL  OUTLINE. 


Introduction. — (- 


1.  Peter  sent  on  his  errand. 

2.  The  mother's  preparations  for  her  husband's 

return. 

3.  Peter  on  his  way  to  the  blind  man's  cottage. 

4.  Peter  at  the  cottage. 

5.  The  mother's  anxiety  at  his  absence. 
C.  Peter  on  his  way  home. 

7.  His  discovery  of  the  leak  in  the  dike. 

8.  His  brave  deed. 

9.  His  thoughts  during  the  night. 

10.  His  return  home. 

11.  The  thanksgiving. 
) 


Note.— You  notice  that  in  this  poem  there  is  no  gradual  leading  up  to  the 
story,  that  is  there  is  no  Introduction,  neither  are  there  any  general  comments 
at  the  close,  that  is,  there  is  no  Conclusion.  There  is  only  the  story  itself 
which  in  an  outline  of  topics  is  called  the  Discussion. 


PUNCTUATION    AND   CAPITALS. 

REPRODUCTION  IL 

A  LEGEND  OF  BREGENZ. 

Girt  round  with  rugged  mountains 

The  fair  Lake  Constance  lies; 
In  her  blue  heart  reflected, 

Shine  back  the  starry  skies ; 
And  Witching  each  white  cloudlet 

Float  silently  and  slow, 
You  think  a  piece  of  heaven 

Lies  on  our  earth  below! 

Midnight  is  there:  and  silence, 

Enthroned  in  heaven,  looks  down 
Upon  her  own  calm  mirror, 

Upon  a  sleeping  town  ; 
For  Bregenz,  that  quaint  city 

Upon  the  Tyrol  shore, 
lias  stood  above  Lake  Constance 

A  thousand  years  and  more. 

Her  battlements  and  towers 

Upon  their  rocky  steep 
Have  cast  their  trembling  shadow 

For  ages  on  the  deep ; 
Mountain  and  lake  and  valley 

A  sacred  legend  know, 
Of  how  the  town  was  saved  one  night, 

Three  hundred  years  ago. 

Far  from  her  home  and  kindred 

A  Tyrol  maid  had  fled, 
To  serve  in  the  Swiss  valleys, 

And  toil  for  daily  bread; 
And  every  year  that  fleeted 

So  silently  and  fast 
Seemed  to  bear  farther  from  her 

The  memory  of  the  past. 


30  THE   ELEMENTS   OF   ENGLISH   COMPOSITION. 

She  served  kind,  gentle  masters, 

Nor  asked  for  rest  or  change ; 
Her  friends  seemed  no  more  new  ones, 

Their  speech  seemed  no  more  strange ; 
And  when  she  led  her  cattle 

To  pasture  every  day, 
She  ceased  to  look  and  wonder 

On  which  side  Bregenz  lay. 

She  spoke  no  more  of  Bregenz 

With  longing  and  with  tears ; 
Her  Tyrol  home  seemed  faded 

In  a  deep  mist  of  years. 
She  heeded  not  the  rumors 

Of  Austrian  war  and  strife ; 
Each  day  she  rose  contented, 

To  the  calm  toils  of  life. 

Yet,  when  her  master's  children 

Would  clustering  round  her  stand, 
She  sang  them  the  old  ballads 

Of  her  own  native  land ; 
And  when  at  morn  and  evening 

She  knelt  before  God's  throne, 
The  accents  of  her  childhood 

Rose  to  her  lips  alone. 

And  so  she  dwelt :  the  valley 

More  peaceful  year  by  year ; 
When  suddenly  strange  portents 

Of  some  great  deed  seemed  near. 
The  golden  corn  was  bending 

Upon  its  fragile  stalk, 
While  farmers,  heedless  of  their  fields 

Paced  up  and  down  in  talk. 

The  men  seemed  stern  and  altered, 
With  looks  cast  on  the  ground ; 


PUNCTUATION  AND  CAPITALS.  31 

With  anxious  faces  one  by  one 

The  women  gathered  round ; 
All  talk  of  flax,  or  spinning, 

Or  work  was  put  away ; 
The  very  children  seemed  afraid 

To  go  alone  to  play. 

One  day,  out  in  the  meadow, 

With  strangers  from  the  town, 
Some  secret  plan  discussing, 

The  men  walked  up  and  down ; 
Yet  now  and  then  seemed  watching 

A  strange  uncertain  gleam, 
That  looked  like  lances  'mid  the  trees 

That  stood  below  the  stream. 

At  eve  they  all  assembled, 

All  care  and  doubt  were  fled ; 
Witli  jovial  laugh  they  feasted, 

The  board  was  nobly  spread. 
The  elder  of  the  village 

Rose  up,  his  glass  in  hand, 
And  cried,  "We  drink  the  downfall 

Of  an  accursed  land ! 

"  The  night  is  growing  darker,— 

Ere  one  more  day  has  flown 
Bregenz,  our  foeraan's  stronghold, 

Bregenz  shall  be  our  own !  " 
The  women  shrank  in  terror 

(Yet  pride,  too,  had  her  part), 
But  one  poor  Tyrol  maiden 

Felt  death  within  her  heart. 

Before  her  stood  fair  Bregenz, 

Once  more  her  towers  arose ; 
What  were  the  friends  beside  her? 

Only  her  country's  foes! 


32  THE   ELEMENTS   OF   ENGLISH   COMPOSITION. 

The  faces  of  her  kinsfolk, 
The  days  of  childhood  flown, 

The  echoes  of  her  mountains, 
Reclaimed  her  as  their  own. 

Nothing  she  heard  around  her 

(Though  shouts  rang  forth  again), 
Gone  were  the  green  Swiss  valleys, 

The  pasture  and  the  plain; 
Before  her  eyes  one  vision, 

And  in  her  heart  one  cry, 
That  said,  "  Go  forth,  save  Bregenz, 

And  then,  if  need  be,  die!" 

With  trembling  haste  and  breathless, 

With  noiseless  step  she  sped ; 
Horses  and  weary  cattle 

Were  standing  in  the  shed ; 
She  loosed  the  strong  white  charger, 

That  fed  from  out  her  hand ; 
She  mounted,  and  she  turned  his  head 

Toward  her  native  land. 

Out  —  out  into  the  darkness, — 

Faster,  and  still  more  fast ; 
The  smooth  grass  flies  behind  her, 

The  chestnut  wood  is  past ; 
She  looks  up ;  clouds  are  heavy : 

Why  is  her  steed  so  slow  ? — 
Scarcely  the  wind  beside  them 

Can  pass  them  as  they  go. 

"  Faster! "  she  cries,  "  0,  faster! " 
Eleven  the  church  bells  chime ; 

"  0  God,"  she  cries,  "help  Bregenz, 
And  bring  me  there  in  time ! " 

But  louder  than  bells'  ringing, 
Or  lowing  of  the  kine, 


PUNCTUATION   AND   CAPITALS. 

Grows  nearer  in  the  midnight 
The  rushing  of  the  Rhine. 

Shall  not  the  roaring  waters 
Their  headlong  gallop  oheck? 

The  steed  draws  back  in  terror, 

She  leans  above  his  neck 
To  watch  the  flowing  darkness, — 

The  bank  is  high  and  steep, — 
One  pause  —  he  staggers  forward 

And  plunges  in  the  deep. 

She  strives  to  pierce  the  blackness, 

And  looser  throws  the  rein; 
Her  steed  must  breast  the  waters 

That  dash  above  his  mane. 
How  gallantly,  how  nobly, 

He  struggles  through  the  foam ! 
And  see  —  in  the  far  distance 

Shine  out  the  lights  of  home! 

Up  the  steep  bank  he  bears  her, 

And  now  they  rush  again 
Toward  the  heights  of  Bregenz, 

That  tower  above  the  plain. 
They  reach  the  gate  of  Bregenz 

Just  as  the  midnight  rings, 
And  out  comes  serf  and  soldier, 

To  meet  the  news  she  brings. 

Bregenz  is  saved !  ere  daylight 

Her  battlements  are  manned ; 
Defiance  greets  the  army 

That  marches  on  the  land. 
And  if  to  deeds  heroic 

Should  endless  fame  be  paid, 
Bregenz  does  well  to  honor 

The  noble  Tyrol  maid. 


34  THE   ELEMENTS   OF   ENGLISH   COMPOSITION. 

Three  hundred  years  are  vanished, 

And  yet  upon  the  hill 
An  old  stone  gateway  rises, 

To  do  her  honor  still. 
And  there  when  Bregenz  women 

Sit  spinning  in  the  shade, 
They  see  iii  quaint  old  carving 

The  Charger  and  the  Maid. 

And  when,  to  guard  old  Bregenz, 

By  gateway,  street,  and  tower, 
The  warder  paces  all  night  long, 

And  calls  each  passing  hour: 
"  Nine,"  "ten,"  "eleven,"  he  cries  aloud, 

And  then  (O  crown  of  Fame!) 
When  midnight  pauses  in  the  skies, 

He  calls  the  maiden's  name ! 

Adelaide  Procter. 

TOPICAL   OUTLINE. 

Introduction. — Description  of   Lake  Constance  and  the  city  of 
Bregenz. 

1.  The  Tyrolese  maiden  serving  in  the  Swiss  valleys. 

2.  Rumors  of  Austrian  war. 

3.  Preparations  of  the  Swiss  for  the  capture  of 
Discussion. — ■{  Bregenz. 

4.  Scene  at  the  festal  board. 

5.  The  maiden's  ride  to  Bregenz. 

6.  Bregenz  saved. 
Conclusion. — How  Bregenz  honored  the  maid. 

BEPRODUCTION  III. 

IN  SWANAGE  BAY. 

"'Twas  five  and  forty  years  ago, 

Just  such  another  morn; 
The  fishermen  were  on  the  beach, 

The  reapers  in  the  corn: 


PUNCTUATION   AND   CAPITALS.  35 

My  tale  is  true,  young  gentlemen, 
As  sure  as  you  were  born. 

"My  tale's  all  true,  young  gentlemen," 

The  fond  old  boatman  cried 
Unto  the  sullen,  angry  lads, 

Who  vain  obedience  tried: 
"Mind  what  your  father  says  to  you, 

And  don't  go  out  this  tide. 

"Just  such  a  shiny  sea  as  this, 

Smooth  as  a  pond,  you'd  say, 
And  white  gulls  flying,  and  the  crafts 

Down  Channel  making  way, 
And  Isle  of  Wight,  all  glittering  bright, 

Seen  clear  from  Swanage  Bay, 

"The  Battery  Point,  the  Race  beyond, — 

Just  as  to-day  you  see: 
This  was,  I  think,  the  very  stone 

Where  sat  Dick,  Dolly,  and  me: 
She  was  our  little  sister,  sirs, — 

A  small  child,  just  turned  three. 

"And  Dick  was  mighty  fond  of  her: 

Though  a  big  lad  and  bold, 
He'd  carry  her  like  any  nurse, 

Almost  from  birth,  I'm  told; 
For  mother  sickened  soon,  and  died 

When  Doll  was  eight  months  old. 

"We  sat  and  watched  a  little  boat, 

Her  name  the  'Tricksy  Jane,' — 
A  queer  old  tub  laid  up  ashore; 

But  we  could  see  her  plain. 
To  see  her,  and  not  haul  her  up, 

Cost  us  a  deal  of  pain. 

"Said  Dick  to  me,  'Let's  have  a  pull: 
Father  will  never  know; 


36  THE  ELEMENTS  OF   ENGLISH   COMPOSITION. 

He's  busy  in  his  wheat  up  there, 

And  cannot  see  us  go. 
These  landsmen  are  such  cowards  if 

A  puff  of  wind  does  blow  ! 

"'I've  been  to  France  and  back  three  times: 

Who  knows  best,  dad  or  me, 
Whether  a  ship's  seaworthy  or  not  ? — 

Dolly,  wilt  go  to  sea  ?' 
And  Dolly  laughed,  and  hugged  him  tight 

As  pleased  as  she  could  be. 

"I  don't  mean,  sirs,  to  blame  poor  Dick: 

What  he  did,  sure  I'd  do; 
And  many  a  sail  in  'Tricksy  Jane' 

We'd  had  when  she  was  new. 
Father  was  always  sharp;  and  what 

He  said  he  meant  it  too. 

"But  now  the  sky  had  not  a  cloud, 
The  bay  looked  smooth  as  glass: 

Our  Dick  could  manage  any  boat 
As  neat  as  ever  was. 

And  Dolly  crowed,  '  Me  go  to  sea  ! ' 
The  jolly  little  lass  ! 

"Well,  sirs,  we  went  —  a  pair  of  oars, 

My  jacket  for  a  sail  — 
Just  round  'Old  Harry  and  his  Wife,' 

Those  rocks  there,  within  hail; 
And  we  came  back — d'ye  want  to  hear 

The  end  o'  the  old  man's  tale? 

"Ay,  ay,  we  came  back  past  that  point; 

But  then  a  breeze  up-sprung; 
Dick  shouted,  '  Hoy !  down  sail ! '  and  pulled 

With  all  his  might  among 
The  white  sea-horses  that  upreared 

So  terrible  and  strong. 


PUNCTUATION   AND   CAPITALS.  37 

"I  pulled  too:  I  was  blind  with  fear; 

But  I  could  hear  Dick's  breath 
Coming  and  going,  as  he  told 

Dolly  to  creep  beneath 
His  jacket,  and  not  hold  him  so : 

We  rowed  for  life  or  death. 

"We  almost  reached  the  sheltered  bay; 

We  could  see  father  stand 
Upon  the  little  jetty  here, 

His  sickle  in  his  hand  ; 
The  houses  white,  the  yellow  fields, 

The  safe  and  pleasant  land. 

"And  Dick,  though  pale  as  any  ghost, 

Had  only  said  to  me, 
'We're  all  right  now,  old  lad!'  when  up 

A  wave  rolled  —  drenched  us  three; 
One  lurch,  and  then  I  felt  the  chill 

And  roar  of  blinding  sea. 

"  I  don't  remember  much  but  that : 

You  see  I'm  safe  and  sound; 
I  have  been  wrecked  four  times  since  then, 

Seen  queer  sights,  I'll  be  bound. 
I  think  folks  sleep  beneath  the  deep 

As  calm  as  under  ground." 

"But  Dick  and  Dolly?"— "Well,  poor  Dick! 

I  saw  him  rise,  and  cling 
Unto  the  gunwale  of  the  boat, 

Floating  keel  up,  and  sing 
Out  loud,  'Where's  Doll?'  I  hear  him  yet 

As  clear  as  anything. 

"'Where's  Dolly?'  I  no  answer  made; 

For  she  dropped  like  a  stone 
Down  through  the  deep  sea,  and  it  closed: 

The  little  thing  was  gone. 


38 


THE   ELEMENTS   OF   ENGLISH   COMPOSITION. 


'Where's  Doll?'  three  times;  then  Dick  loosed  hold 
And  left  me  there  alone. 


"It's  five  and  forty  year  since  then," 

Muttered  the  boatman  gray, 
And  drew  his  rough  hand  o'er  his  eyes 

And  stared  across  the  bay, — 
"Just  five  and  forty  year,"  and  not 
Another  word  did  say. 

"But  Dolly?"  ask  the  children  all 

As  they  about  him  stand. 
"Poor  Doll!  she  floated  back  next  tide 

With  seaweed  in  her  hand. 
She's  buried  o'er  that  hill  you  see, 

In  a  churchyard  on  land. 

"But  where  Dick  lies,  God  knows.     He'll  find 

Our  Dick  at  judgment  day." 
The  boatman  fell  to  mending  nets, 

The  boys  ran  off  to  play; 

And  the  sun  shone,  and  the  waves  danced, 

In  quiet  Swanage  Bay. 

Dinah  Maria  Muloch. 


TOPICAL  OUTLINE. 
Introduction. — The  fisherman's  advice  to  the  boys. 


Discussion. — The  fisherman's  story.  - 


'  1. 

How  the  bay  looked  at 

the  time  the  incident 

occurred. 

2. 

The  three  children. 

3. 

Dick's  proposal  to  take 

a  boatride. 

4. 

The  ride. 

5. 

The  accident. 

.  6. 

The  fate  of  the  children. 

Conclusion.— The  effect  of  the  story. 


PUNCTUATION   AND   CAPITALS.  39 

DEVELOPMENT  I. 

We  will  call  this  exercise  Developme?it.  It  is,  as  you 
will  see,  largely  original  composition.  The  poet  has 
omitted  many  things  that  your  imagination  can  supply. 
For  example,  you  can  tell  who  the  little  girl  was,  you  can 
describe  her  coming  to  see  the  king,  her  disappointment, 
the  looks  of  the  king,  how  he  chanced  to  see  her,  etc.  It 
will  not  be  necessary  to  adhere  strictly  to  the  statements 
of  the  poem  ;  they  may  be  varied  at  pleasure.  Make  a 
full,  connected  story  the  same  as  in  Reproduction.  Prefer 
direct  narration  to  indirect.  Be  careful  to  make  every 
part  consistent  with  every  other  part,  and  to  develop  the 
the  parts  proportionally. 

THE  SAD  LITTLE  LASS. 

"Why  sit  you  here,  my  lass?"  said  he. 
"I  came  to  see  the  king,"  said  she, — 
"To  see  the  king  come  riding  by, 
While  all  the  eager  people  cry, 
'God  bless  the  king,  and  long  live  he!' 
And  therefore  sit  I  here,"  said  she. 

"Why  do  you  weep,  my  lass?"  said  he. 
"Because  that  I  am  sad,"  said  she. 
"For  when  the  king  came  riding  by, 
And  all  the  people  raised  a  cry, 
I  was  so  small,  I  could  not  see. 
And  therefore  do  I  weep,"  said  she. 

"Then  weep  no  more,  my  lass!"  said  he. 
"And  pray,  good  sir,  why  not?"  said  she. 
"Lift  up  your  eyes  of  bonnie  blue, 
And  look  and  look  me  through  and  through. 
Nor  say  the  king  you  could  not  see. 
I  am  the  king,  my  lass!"  said  he. 

Margaret  Johnson,  in  "St.  Nicholas." 


CHAPTER  II. 


TEA1STSF0EMATI0N  OF  ELEMENTS. 

Exercise  27. —  Transform  the  italicized  phrases  to 
words,  and  the  italicized  words  to  phrases  or  to  other 
word  elements.  Explain  fully  every  transformation.  Ex- 
amples : 


1.  The  Tower  was  long  a  prin- 
cipal residence  of  the  kings. 

2.  With  eyes  of  thoughtful 
earnestness. 


1.  The  Tower  was  long  a  prin- 
cipal royal  residence. 

2.  With  eyes  thoughtful  and 
earnest. 


Note.— In  all  the  exercises  of  this  chapter,  make  whatever  other  changes 
the  required  transformation  necessitates. 

1.  Never  even  from  tropical  shores  was  richer-hued  ocean  be- 
held. 2.  She  began  in  a  very  solemn  manner.  3.  A  frame  of  ada- 
mant, a  soul  of  fire.  I  4.  I  stood  before  the  entrance  to  Henry  the 
Eighth's  chapel.  5.  Great  gates  of  brass  richly  carved.  6.  On 
what  foundation  stands  the  warrior's  pride,  how  just  his  hopes,  let 
Swedish  Charles  decide.  \'7.  The  sides  of  the  mountains  are  cov- 
ered with  trees.  8.  He  possessed  a  strong  and  lively  imagination. 
9.  His  style  has  all  the  vigor  and  conciseness  of  Swift's.  10.  Shall 
Britons  languish?  11.  Dante,  poor  and  banished,  was  not  a  man 
to  conciliate  men.  <12.  A  complete  and  generous  education  fits  a 
man  to  perform  justly,  skilfully,  and  magnanimously  all  the  offices 
of  peace  and  war.  13.  Plays  were  originally  acted  in  inn-yards. 
V  14.  We  waited  with  great  anxiety  for  the  dawn.  15.  He  was  a  cit- 
izen worthy  of  esteem.  16.  The  pilot  proceeded  to  the  wheel  in 
silence.  17.  He  clung  with  still  greater  passionateness  to  two  theo- 
ries. u8.  The  Friars  were  of  necessity  thrown  into  a  position  an- 
tagonistic to  the  English  rule.  19.  She  clung  to  it  fiercely  and 
tenaciouslu.    29-  The  Council  met  at  Trent  in  no  spirit  of  concil- 


TRANSFORMATION   OF   ELEMENTS.  41 

iation.  21.  The  English  fought  desperately.  22.  There  kings  have 
left  a  nameless  pyramid.  V23.  God  is  in  all  places  and  at  all  times 
present  with  us.     24.  Will  you  go  to  that  place  without  delay? 

Exercise  28. — Transform  the  infinitives  and  parti- 
ciples to  any  other  kind  of  word  or  phrase  element.  Ex- 
plain every  transformation.     Examples: 


1.  The  end  of  writing  is  to 
instruct. 

2.  What  cause  withholds  you 
then  to  mourn  for  him? 

3.  Earning  is  having. 


1.  The  end  of  writing  is  in- 
struction. 

2.  What  cause  withholds  you 
then  from  mourning  for  him? 

3.  To  earn  is  to  have. 


1.  Too  much  time  spent  in  studies  is  sloth.  2.  I  was  yesterday 
much  surprised  to  hear  my  old  friend  calling  out  to  John  Matthews 
not  to  disturb  the  congregation.  Id.  The  poet  Pope  was  not  content 
to  satisfy.  4.  It  is  always  a  mark  of  short-sightedness  to  be  impa- 
tient of  results.  /5.  Dying  is  not  sport  for  a  man.  6.  His  whole 
aim  was  to  encourage  disunion.  7.  It  is  not  a  position  to  be  de- 
sired. 8.  At  this  time  the  weather  is  liable  to  change  frequently. 
9.  It  shows  a  greater  genius  in  Shakespeare  to  have  drawn  his  Cali- 
ban than  his  Hotspur  or  Julius  Caesar.  \l  10.  Being  great  is  being 
misunderstood.  11.  A  greater  curse  cannot  befall  the  most  wicked 
than  to  be  deprived  of  his  peace.  12.  Believing  your  own  thoughts, 
believing  that  what  is  true  for  you  in  your  private  heart  is  true  for 
all  men, —  that  is  genius. 

Exercise  29. — Transform  at  least  one  phrase  into  a 
dependent  clause.  Explain  the  change  and  decide  whether 
it.  improves  the  sentence.     Examples : 


£,  Read  not  to  contradict  and 
confute. 

2.  Having  regained  the  main 
road,  we  thought  ourselves  out  of 
danger. 


1.  Read  not  that  you  may 
contradict  and  confute. 

2.  When  we  had  regained  the 
main  road,  we  thought  ourselves 
out  of  danger. 


Remark. — Aim  constantly  at  brevity.     Of  two  forms 


42  THE   ELEMENTS   OF  ENGLISH   COMPOSITION. 

of  expression  in  other  respects  equally  good,  choose  the 
shorter ;  as  the  phrase  is  usually  shorter  than  the  clause 
and  simpler  in  construction,  it  is  well,  as  a  rule,  to 
reduce  clauses  to  phrases  or  even  to  words.  "The  clause, 
however,  has  frequently  the  advantage  in  being  clearer. 

1.  I  am  old-fashioned  enough  to  admire  Lord  Bacon.  2.  Hav- 
ing become  a  dissenter,  Bunyan  is  imprisoned  for  twelve  years.  3. 
Next  morning,  on  looking  for  Mignon  about  the  house,  Wilhelm  did 
not  find  her.  4.  Drawing  near  the  city,  they  had  a  more  perfect 
view  of  it.  5.  In  skating  over  thin  ice,  our  safety  lies  in  our  speed. 
6.  Before  ordering  the  charge,  Napoleon  had  carefully  examined 
the  ground.  7.  He  dropped  the  man  only  on  his  ceasing  to  strug- 
gle. 8.  I  observed  him  to  be  much  out  of  breath.  9.  Her  brother, 
the  Earl  of  Murray,  was  recalled  from  banishment  to  accept  the 
regency  of  the  realm.  10.  They  brought  her  crosses  and  chaplets  to 
be  blessed  by  her  touch.]  11.  I  believed  him  to  be  in  a  lucid  inter- 
val. 12.  Joan  of  Arc  prays  you  to  work  no  more  distraction  in 
France.  13.  The  council  of  war  resolved  to  adjourn  the  attack. 
14.  The  noblest  work  to  be  done  in  Ireland  was  to  bring  about  a 
reconciliation  between  Catholic  and  Protestant.  15.  The  general 
horror  excited  by  the  massacre  of  St.  Bartholomew  completed  the 
ruin  of  the  Catholic  cause.  16.  He  resolved  to  anticipate  the  attack. 
17.  I  believed  him  to  be  honest.  18.  Can  you  tell  me  what  method 
to  adopt  ?  19.  Demosthenes  is  said  to  have  transcribed  six  times 
the  history  of  Thucydides.  20.  The  Spartans,  notwithstanding 
their  austerity,  prayed  the  gods  to  grant  them  the  beautiful  with 
the  good.  21.  0  God  !  that  men  should  put  an  enemy  in  their 
mouths,  to  steal  away  their  brains  ! 

Exercise  30. —  Transform  the  dependent  clauses  to 
phrases.  Explain  the  transformation  and  decide  whether 
it  improves  the  sentence.     Examples: 


1.  Howard  resolved  that   he 
would  force  an  engagement. 

2.  As  this  proposition  is  ad- 
mitted, I  now  state  my  argument. 


1.  Howard  resolved  to  force 
an  engagement. 

2.  This  proposition  being  ad- 
mitted, I  now  state  my  argument. 


TRANSFORMATION   OF   ELEMENTS.  43 

1.  The  first  twenty  years  that  Elizabeth  reigned  were  a  period  of 
suspense.  2.  The  Roman  church,  which  was  enfeebled  and  cor- 
rupted by  the  triumph  of  ages,  felt  at  last  the  uses  of  adversity.  3. 
The  dream  that  the  universal  church  would  be  reformed  was  utterly 
at  an  end.  4.  He  caught  the  wretch  by  the  neck  with  a  force  that 
could  not  be  resisted.  5.  The  violent  bounds  of  the  wounded  pan- 
ther gave  indications  that  its  strength  and  ferocity  were  returning. 
6.  When  Jeanne  appeared  at  the  French  court,  Orleans  had  already 
been  driven  by  famine  to  offers  of  surrender.  7.  As  I  have  been 
walking  in  the  fields,  I  have  often  observed  them  stealing  a  sight  of 
me  over  the  hedge.  8.  I  venerate  the  man  whose  heart  is  warm, 
whose  hands  are  pure.  9.  As  the  knight  is  the  best  master  in  the 
world,  he  seldom  changes  servants.  10.  As  Sir  Rodger  is  landlord 
to  the  whole  congregation,  he  keeps  them  in  very  good  order.  11. 
When  the  troubles  began,  most  of  the  people  supposed  themselves 
very  loyal.  12.  When  he  awoke",  the  cool  gray  light  of  dawn  was 
streaking  the  horizon.  13.  As  our  friends  are  absent,  we  cannot 
come  to  a  determination.  14.  And  then,  as  she  knelt  at  mass,  she 
wept  in  such  a  passion  of  devotion,  t*hat  all  the  people  wept  with 
her.  15.  Is  that  a  swan  that  rides  upon  the  waters  ?  10.  She  only 
threw  off  the  touch  of  womanly  fear  when  she  heard  the  signal  for 
retreat.  17.  The  mummies  which  are  found  in  Egypt  are  even  to 
the  present  time  well  preserved. 

Exercise  31. —  Transform  these  simple  sentences  to 
either  compound  or  complex,  or  if  possible  to  both.  Ex- 
plain fully  every  transformation,  and  decide  whether  it 
improves  the  sentence.     Example : 

Contracted  compound. — A  loud 
roar  of  laughter  burst  from  the 
other  workmen,  and  made  Seth 


A  loud  roar  of  laughter  from 
the  other  three  workmen  made 
Seth  look  around  confusedly. 


look  around  confusedly. 

Complex. —  A    loud    roar  of 
laughter,  which  burst  from  the 
other  three  workmen,  made  Seth 
look  around  confusedly. 
Note.—  Introduce  what  words  are  necessary,  but  do  not  change  the  sense. 


44  THE  ELEMENTS   OF  ENGLISH   COMPOSITION. 

1.  On  his  head  he  wore  a  broad  blue  bonnet  with  a  tuft  of  scar- 
let in  the  centre.  v  2.  Behind  this  wood,  and  separated  from  it  by  a 
high  wall  of  stone,  lay  a  succession  of  heights  covered  with  grass. 
3.  On  this  cloth  there  is  a  massive  silver  waiter  with  a  decanter  on 
it.  4.  It  was  a  low  house  with  smooth  gray  thatch  and  buff  walls, 
looking  pleasant  and  mellow  in  the  evening  light.  5.  Stretching 
myself  out  upon  the  moss  in  the  shade,  I  waited.  6.  The  small 
brown  hand  is  laden  with  pearls  and  diamonds.  7.  Night,  com- 
ing down  from  the  western  peaks,  breathed  odor,  and  coolness,  and 
healing  balsams.  8.  TJie  river,  roaring  far  below,  could  be  reached 
by  a  single  plunge.  9.  The  fame  of  Washington  stands  apart  from 
every  other  in  history,  shining  with  a  truer  lustre  and  a  more  be- 
nignant glory.  10.  Wealth  gotten  by  ill-means  is  an  eternal  re- 
proach. 11.  Every  goblin  of  ignorance  did  not  vanish  at  the  first 
glimmerings  of  the  morning  of  science.  12.  You  cannot  do  wrong 
without  suffering  wrong.  13.  Many  times  Mrs.  Transom  went  to 
the  door-steps,  watching  and  listening  in  vain. 

Exercise  32. — Transform  to  either  simple  or  com- 
pound sentences,  or  if  possible,  to  both.  Notice  the 
change  in  prominence  given  to  different  parts  of  the 
sentence.     Example : 


The  clouds  rolled  away  to  the 
east,  where  they  lay  piled  in  feath- 
ery masses  tinted  with  the  last 
rays  of  the  sun. 


Simple. —  The  clouds,  rolling 
away  to  the  east,  lay  piled  in 
feathery  masses  tinted  with  the 
last  rays  of  the  sun. 

Contracted  compound. —  The 
clouds  rolled  away  to  the  east,  and 
lay  piled  in  feathery  masses  tinted 
with  the  last  rays  of  the  sun. 

Remark. —  The  prominent  thought  should  be  put  in 
the  independent  clause;  the  subordinate  thought,  in  the 
dependent  clause. 

1.  Even  a  stray  rabbit  sat  nibbling  a  leaf  in  the  middle  of  a 
grassy  space,  with  an  air  that  seemed  quite  impudent  in  so  timid  a 


TRANSFORMATION   OF  ELEMENTS.  45 

creature.  2.  On  the  west  side  where  the  carriage  entrance  was,  the 
gates  under  the  stone  archway  were  thrown  open.  3.  Yet  how  to 
compass  the  death  of  the  king,  surrounded  as  he  was  by  guards,  was 
no  easy  matter.  4.  Bruce  studied  how  he  might  supply  by  address 
and  stratagem  what  he  lacked  in  numbers  and  strength.  5.  The 
river,  hitherto  still  and  glassy,  reflecting  pictures  of  sky  and  land, 
now  showed  a  dark  ripple  at  a  distance,  as  the  breeze  came  creeping 
up  to  it.  0.  This  was  a  necessary  precaution  in  order  that  equality 
might  be  preserved  between  the  two  bodies.  7.  The  whole  nation 
heard  with  astonishment  that  the  Emperor  had  abdicated.  8.  It 
became  evident  to  all  that  succor  was  impossible.  9.  Martin 
Luther,  who  was  the  son  of  a  miner,  was  born  in  Erfurt  in  the  year 
1483.  10.  The  Indian  monarch,  who  was  stunned  and  bewildered, 
saw  his  faithful  subjects  falling  around  him.  11.  A  city  that  is  set 
on  a  hill  cannot  be  hid.  12.  lie  then  dispatched  James  Douglass 
and  Sir  Robert  Keith  in  order  that  they  might  survey  as  nearly  as 
they  could  the  English  force  which  was  now  advancing  from  Fal- 
kirk. 13.  When  the  king  saw  the  English  horsemen  draw  near,  he 
advanced  a  little  before  his  own  force  to  look  at  them  more  nearly. 
14.  The  very  circumstance  that  the  usurper  was  his  mother's  hus- 
band, filled  Hamlet  with  remorse  and  blunted  the  edge  of  his 
purpose.  _«■ 

Exercise  33. —  Transform  to  either  simple  or  complex, 
or  if  possible  to  both.  Notice  the  changes  in  the  promi- 
nence given  to  different  parts  of  the  sentence.     Example  : 

Simple. —  Elizabeth' 8  patience 
being  at  last  worn  out,  she  poured 
her  armies  across  the  border. 


Elizabeth's  patience  was  at 
last  worn  out,  and  she  poured  her 
armies  across  the  border. 


Complex. —  As  Elizabeth's  pa- 
tience was  at  last  worn  out,  she 
poured  her  armies  across  the  bor- 
der. 

1.  The  path  was  lonely  for  the  first  hour  after  starting,  but  by 
and  by  it  began  to  grow  more  animated.  2.  There  may  be  mount- 
ain paths  leading  inward  from  the  valley,  but  none  are  visible. 


46  THE   ELEMENTS   OF   ENGLISH   COMPOSITION. 

3.  He  turned  his  body  to  lay  his  little  stick  upon  his  bundle,  and  I 
heard  the  clank  of  the  chains  upon  his  legs.  4.  The  clock  struck 
eleven,  and  the  duke  with  his  body-guard  rode  out  of  the  castle. 
5.  They  proceeded,  and  the  indications  of  approaching  land  seemed 
to  be  more  certain.  6.  Philip  pressed  the  matter,  and  then  Lord 
Burleigh  took  upon  himself  to  answer  in  a  high  tone  for  his  ministers. 
7.  The  country  became  softer  and  lovelier;  the  road  gradually  fell 
toward  Herisan,  the  richest  and  stateliest  town  of  the  canton. 

Exercise  34. — Transform  into  simple  sentences  by 
removing  all  the  predicate  verbs  but  one.  Notice  the 
changes  in  the  prominence  given  to  different  parts  of  the 
sentence.     Example : 

The  tiny  birds,  alighting  on 


The  tiny  birds  alighted  on  the 
walks,  and  hopped  about  in  per- 
fect tranquillity. 


the  walks,  hopped  about  in  per- 
fect tranquillity. 


1.  He  started  to  his  feet,  and  gazed  bewildered  at  the  child.  2. 
The  wind  changed  to  the  south,  and  wafted  soft  country  odors  to 
the  shore.  3.  A  large  black  veil  is  carefully  adjusted  over  the 
crown  of  her  cap,  and  falls  in  sharp  contrast  on  the  white  folds 
about  her  neck.  4.  Juan  walked  in  advance,  listened  for  the  tink- 
ling bells  of  the  coming  animals,  and  selected  places  for  crossing. 
5.  They  shot  out  from  the  shore  on  every  vessel,  seized  the  cargoes, 
and  threw  the  crews  into  the  sea.  6.  Some  of  the  more  daring  of 
the  privateers  swept  down  upon  the  Spanish  coast,  plundered  the 
churches  and  convents  and  returned  home  with  the  sacred  vessels. 

Exercise  35. —  Express,  if  possible,  by  a  single  word 
the  idea  contained  in  each  italicized  expression.    Example : 


A  grand  flourish  of  trumpets 
announced  the  prince  and  his 
retinue. 


A  grand  flourish  of  trumpets 
announced  the  prince  and  the 
persons  whose  duty  it  was  to  at- 
tend upon  him. 

Remaek. — This  is  an  exercise  not  only  in  transforma- 
tion, but  in  brevity.     One  of  the  principal  means  of  stat- 


TRANSFORMATION   OF   ELEMENTS.  47 

ing  thought  briefly  is  the  selection  of  comprehensive 
words.  A  good  writer  puts  into  one  word  what  a  poor 
writer  puts  into  many.  Decide  whether  in  any  case  the 
expanded  form  is  as  good  as  the  single  word. 

1.  The  girl  stood  a  few  moments  in  anxiety  that  cannot  be  de- 
scribed. 2.  They  attacked  the  fort  with  a  force  that  could  not  be 
resisted.  3.  Morning  arose  in  splendor  that  was  undimmed  by  clouds. 
4.  TJiose  who  were  looking  on  broke  forth  into  a  shout  in  which 
every  voice  joined,  and  ivhich  was  not  produced  by  the  action  of  the 
ivill.  5.  The  leaders  of  the  troops  that  had  been  hired  were  nearly 
all  slain.  6.  He  also  felt  the  prejudices  against  the  Jews  which 
were  felt  by  all  the  people.  7.  He  desired  to  give  no  farther  trouble 
to  those  who  had  rendered  him  in  his  need  so  many  kind  services. 
8.  Meanwhile  the  lord  of  the  castle,  which  was  surrounded  by  attack- 
ing enemies,  and  ivhich  was  in  danger,  lay  upon  a  bed  of  agony.  9. 
This  was  a  strange  interruption  to  his  talk  to  himself.  10.  Thou 
and  I  are  but  the  blind  instrument  of  some  fatality  which  it  is  im- 
possible to  withstand.  11.  He  was  steady  in  pursuing  his  aims,  and 
could  not  be  turned  aside  from  them.  (Put  as  adjective  in  first 
clause.)  12.  The  features  were  so  marked  as  to  be  fixed  on  the 
mind,  so  firmly  that  the  impression  could  never  be  removed.  (Adverb 
limiting  fixed.)  13.  He  wrote  for  a  nation  so  desirous  of  novelty 
and  excitement  that  it  was  impossible  to  satisfy  their  desires. 
(Adverb  in  place  of  so.)  14.  As  was  the  historian,  so  were  the 
auditors,  given  to  asking  questions,  apt  to  believe  on  slight  evidence. 
15.  His  style  is  weighty,  condensed,  and  not  unfrequently  difficult 
to  be  understood.  16.  They  wondered  at  the  degeneracy  of  the  peo- 
ple who  were  living  in  their  time.  17.  He  learns  to  distinguish 
what  is  local  from  what  is  universal,  what  lasts  but  a  short  time, 
from  what  will  last  forever.  18.  The  whole  plain  was  crowded  with 
horsemen  hastening  to  the  place  where  the  knights  were  to  display 
in  mock-fight  their  skill  in  horsemanship  and  with  the  lance. 


48  THE   ELEMENTS   OF   ENGLISH   COMPOSITION. 


EXERCISES  IN   COMPOSITION. 

REPRODUCTION  IV. 

THE  PAINTER  OF  SEVILLE. 

'Twas  morning  in  Seville;  and  brightly  beamed 
The  early  sunlight  in  one  chamber  there ; 

Snowing  where'er  its  glowing  radiance  gleamed, 
Rich,  varied  beauty.  'Twas  the  study  where 
Murillo,  the  famed  painter,  came  to  share 

With  young  aspirants  his  long-cherished  art, 
To  prove  how  vain  must  be  the  teacher's  care, 

Who  strives  his  unbought  knowledge  to  impart, 

The  language  of  the  soul,  the  feeling  of  the  heart. 

The  pupils  came,  and  glancing  round, 
Mendez  upon  his  canvas  found, 
Not  his  own  work  of  yesterday, 
But,  glowing  in  the  morning  ray, 
A  sketch,  so  rich,  so  pure,  so  bright, 

It  almost  seemed  that  there  were  given 
To  glow  before  his  dazzled  sight, 

Tints  and  expressions  warm  from  Heaven. 
'Twas  but  a  sketch  —  the  Virgin's  head  — 
Yet  was  unearthly  beauty  shed 
Upon  the  mildly  beaming  face ; 

The  lip,  the  eye,  the  flowing  hair, 
Had  separate,  yet  blended  grace  — 

A  poet's  brightest  dream  was  there ! 

Murillo  entered,  and  amazed, 

On  the  mysterious  painting  gazed ; 

"  Whose  work  is  this?  —  speak,  tell  me!  —  he 

Who  to  his  aid  such  power  can  call," 
Exclaimed  the  teacher  eagerly, 

"  Will  yet  be  master  of  us  all. 


TRANSFORMATION  OF  ELEMENTS.  49 

Would  I  had  done  it !—  Ferdinand ! 
Isturitz  !  Mendez  ! — say,  whose  hand 
Among  ye  all  ?  "—With  half-breathed  sigh, 
Each  pupil  answered,—"  Twas  not  II" 

"  How  came  it,  then?"  impatiently 
Murillo  cried;  "but  we  shall  see, 
Ere  long  into  this  mystery 
Sebastian!" 

At  the  summons  came 

A  bright-eyed  slave, 
Who  trembled  at  the  stern  rebuke 

His  master  gave. 
For,  ordered  in  that  room  to  sleep, 
And  faithful  guard  o'er  all  to  keep, 
Murillo  bade  him  now  declare 
What  rash  intruder  had  been  there, 
And  threatened  —  if  he  did  not  tell 
The  truth  at  once  —  the  dungeon-cell. 
"Thou  answerest  not,"  Murillo  said; 

(The  boy  had  stood  in  speechless  fear) ; 
"  Speak  on! "  —  at  last  he  raised  his  head 

And  murmured,  "No  one  has  been  here." 
"  'Tis  false!  "    Sebastian  bent  his  knee, 
And  clasped  his  hands  imploringly, 
And  said,  "I  swear  it,  none  but  me!" 

"List!"  said  his  master.     "I  would  know 

Who  enters  here  —  there  have  been  found 

Before,  rough  sketches  strewn  around, 
By  whose  bold  hand,  'tis  yours  to  show ; 
See  that  to-night  strict  watch  you  keep, 
Nor  dare  to  close  your  eyes  in  sleep. 
If  on  to-morrow  morn  you  fail 

To  answer  what  I  ask, 
The  lash  shall  force  you  —  do  you  hear? 

Hence!  to  your  daily  task." 

******* 
4 


50  THE   ELEMENTS   OF   ENGLISH   COMPOSITION. 

'Twas  midnight  in  Seville ;  and  faintly  shone, 

From  one  small  lamp,  a  dim  uncertain  ray 
Within  Murillo's  study ;  all  were  gone 

Who  there  in  pleasant  tasks  or  converse  gay, 
Passed  cheerfully  the  morning  hours  away. 

'Twas  shadowy  gloom,  and  breathless  silence,  save 
That  to  sad  thoughts  and  torturing  fear  a  prey, 

One  bright-eyed  boy  was  there  —  Murillo's  little  slave. 

Almost  a  child  —  that  boy  had  seen 

Not  thrice  five  summers  yet, 
But  genius  marked  the  lofty  brow, 

O'er  which  his  locks  of  jet 
Profusely  curled ;  his  cheek's  dark  hue 
Proclaimed  the  warm  blood  flowing  through 
Each  throbbing  vein,  a  mingled  tide, 
To  Africa  and  Spain  allied. 

"Alas  !  what  fate  is  mine  ! "  he  said. 

"The  lash,  if  I  refuse  to  tell 
Who  sketched  those  figures, —  if  I  do, 

Perhaps  e'en  more  —  the  dungeon-cell ! " 
He  breathed  a  prayer  to  heaven  for  aid ; 
It  came — for  soon  in  slumber  laid 
He  slept,  until  the  dawning  day 
Shed  on  his  humble  couch  its  ray. 

" I'll  sleep  no  more  ! "  he  cried ;  "and  now 

Three  hours  of  freedom  I  may  gain, 
Before  my  master  comes ;  for  then 

I  shall  be  but  a  slave  again. 
Three  blessed  hours  of  freedom  !  how 
Shall  I  employ  them  ? — ah  !  e'en  now 
The  figure  on  that  canvas  traced 
Must  be  —  yes,  it  must  be  effaced." 

He  seized  a  brush"—  the  morniqg  light 
Gave  to  the  head  a  softened  glow; 


TRANSFORMATION   OF   ELEMENTS.  51 

Gazing  enraptured  on  the  sight, 

He  cried,  "Shall  I  efface  it  ?— No  ! 
That  breathing  lip  !  that  beaming  eye  ! 
Efface  them  ?— I  would  rather  die  ! " 

The  terror  of  the  humble  slave 

Gave  place  to  the  o'erpowering  flow 
Of  the  high  feelings  Nature  gave  — 

Which  only  gifted  spirits  know. 
He  touched  the  brow  —  the  lip  —  it  seemed 

His  pencil  had  some  magic  power; 
The  eye  with  deeper  feeling  beamed  — 

Sebastian  then  forgot  the  hour, 
Forgot  the  master,  and  the  threat 

Of  punishment  still  hanging  o'er  him  ; 
For  with  each  touch,  new  beauties  met 

And  mingled  in  the  face  before  him. 

At  length  'twas  finished  ;  rapturously 
He  gazed — could  aught  more  beauteous  be  ! 
Awhile  absorbed,  entranced  he  stood, 
Then  started  —  horror  chilled  his  blood  ! 
His  master  and  the  pupils  all 

Were  there  e'en  at  his  side  ! 
The  terror-stricken  slave  was  mute — 

Mercy  would  be  denied, 
E'en  could  he  ask  it  —  so  he  deemed, 
And  the  poor  boy  half  lifeless  seemed. 

Speechless,  bewildered  —  for  a  space 
They  gazed  upon  that  perfect  face, 

Each  with  an  artist's  joy ; 
At  length  Murillo  silence  broke, 
And  with  affected  sternness  spoke — 

"  Who  is  your  master,  boy  ?" 
"You,  Senor,"  said  the  trembling  slave. 
"Nay,  who,  I  mean,  instruction  gave, 
Before  that  Virgin's  head  you  drew?" 


52  THE   ELEMENTS   OF   ENGLISH   COMPOSITION. 

Again  he  answered,  "Only  you." 
"  I  gave  you  none!  "  Murillo  cried. 
"But  I  have  heard,"  the  boy  replied, 

"  What  you  to  others  said." 
"And  more  than  heard,"  in  kinder  tone, 
The  painter  said  ;  "'tis  plainly  shown 

That  you  have  profited." 

"  What  (to  his  pupils)  is  his  meed  ? 

Reward  or  punishment  ?  " 
"Reward,  reward  !  "  they  warmly  cried. 

(Sebastian's  ear  was  bent 
To  catch  the  sounds  he  scarce  believed, 
But  with  imploring  look  received.) 
■ '  What  shall  it  be  ?  "    They  spoke  of  gold 

And  of  a  splendid  dress  ; 
But  still  unmoved  Sebastian  stood, 

Silent  and  motionless. 
"Speak  !  "  said  Murillo,  kindly  ;  "choose 

Your  own  reward  —  what  shall  it  be  ? 
Name  what  you  wish,  I'll  not  refuse. 

Then  speak  at  once  and  fearlessly." 
"  Oh  !  if  I  dared  !  "—Sebastian  knelt, 

And  feelings  he  could  not  control 
(But  feared  to  utter  even  then) 

With  strong  emotion  shook  his  soul. 

"  Courage  ! "  his  master  said,  and  each 

Essayed,  in  kind,  half-whispered  speech, 

To  soothe  his  overpow'ring  dread. 

He  scarcely  heard,  till  some  one  said, 

"  Sebastian  —  ask  —  you  have  your  choice  — 

Ask  for  your  freedom  !  " —  at  the  word, 
The  suppliant  strove  to  raise  his  voice  : 

At  first  but  stifled  sobs  were  heard, 
And  then  his  prayer  —  breathed  fervently  — 
"Oh  !  master,  make  my  father  free  !" 


TRANSFORMATION   OF  ELEMENTS.  53 

"Him  and  thyself,  my  noble  boy  I" 

Warmly  the  painter  cried  ; 
Raising  Sebastian  from  his  feet, 

He  pressed  him  to  his  side. 
"Thy  talents  rare,  and  filial  love, 

E'en  more  have  fairly  won  ; 
Still  be  thou  mine  by  other  bonds  — 

My  pupil  and  my  son." 

Murillo  knew,  e'en  when  the  words 

Of  generous  feeling  passed  his  lips, 
Sebastian's  talents  soon  must  lead 

To  fame  that  would  his  own  eclipse  ; 
And,  constant  to  his  purpose  still, 

He  joyed  to  see  his  pupil  gain, 
Beneath  his  care,  such  matchless  skill 

As  made  his  name  the  pride  of  Spain. 

Susan  Wilson. 

DIRECTIONS  FOR  MAKING  THE  TOPICAL  OUTLINE. 

You  are  now  required  to  make  out  your  own  topical 
outline.  This  should  be  done  with  every  Reproduction 
before  you  attempt  to  write.  Observe  the  following 
directions : 

1.  Make  each  topic  as  general  as  may  be,  but  not  so 
brief  and  general  as  to  be  indefinite.  2.  Make  the  topics 
as  few  as  possible  ;  minor  points  that  would  be  suggested 
by  the  connection,  should  not  be  raised  to  the  dignity  of 
topics.  3.  Make  each  topic  completely  cover  its  ground, 
but  neither  overlap  nor  repeat  another.  4.  A  general 
topic  may  consist  of  sub-topics  arranged  under  it.  5.  The 
list  of  topics  should  present  a  clear,  well  arranged  view  of 
the  whole  subject. 


54  THE   ELEMENTS   OF   ENGLISH   COMPOSITION. 

REPRODUCTION  V. 

PROSE  READINGS. 

To  the  Teacher.— It  will  doubtless  be  desirable  to  give  also  prose  selec- 
tions for  reproduction.  These  have  been  necessarily  omitted.  They  can, 
however,  be  given  at  pleasure  by  reading  the  class  something  suitable  for  the 
purpose,  as,  for  example,  some  of  Hawthorne's  short  stories,  especially  the 
mythological  ones.  (See  also  Chapter  VII.)  The  prose  can  take  the  place  of 
some  of  the  selections  given,  or  can  be  added  wherever  more  practice  is 
deemed  necessary. 

REPRODUCTION  VI. 

THE  RETIRED  CAT. 

A  poet's  cat,  sedate  and  grave, 
As  poet  well  could  wisli  to  have, 
Was  much  addicted  to  inquire 
For  nooks  to  which  she  might  retire, 
And  where,  secure  as  mouse  in  chink, 
She  might  repose,  or  sit  and  think. 
Sometimes  ascending,  debonair, 
An  apple-tree,  or  lofty  pear, 
Lodged  with  convenience  in  the  fork, 
She  watched  the  gardener  at  his  work; 
Sometimes  her  ease  and  solace  sought 
In  an  old  empty  watering-pot ; 
There,  wanting  nothing  save  a  fan 
To  seem  some  nymph  in  her  sedan, 
Apparelled  in  exactest  sort, 
And  ready  to  be  borne  to  court. 
But  love  of  change  it  seems  has  place 
Not  only  in  our  wiser  race; 
Cats  also  feel,  as  well  as  we, 
That  passion's  force,  and  so  did  she. 
Her  climbing,  she  began  to  find, 
Exposed  her  too  much  to  the  wind, 
And  the  old  utensil  of  tin 


TRANSFORMATION   OF   ELEMENTS.  55 

Was  cold  and  comfortless  within : 
She  therefore  wished,  instead  of  those, 
Some  place  of  more  serene  repose, 
Where  neither  cold  might  come,  nor  air 
Too  rudely  wanton  with  her  hair, 
And  sought  it  in  the  likeliest  mode, 
Within  her  master's  snug  abode. 

A  drawer,  it  chanced,  at  bottom  lined 
With  linen  of  the  softest  kind, 
With  such  as  merchants  introduce 
From  India,  for  the  ladies'  use  — 
A  drawer  impending  o'er  the  rest, 
Half  open,  in  the  topmost  chest, 
Of  depth  enough,  and  none  to  spare, 
Invited  her  to  slumber  there. 
Puss,  with  delight  beyond  expression, 
Surveyed  the  scene  and  took  possession. 
Recumbent  at  her  ease,  ere  long, 
And  lulled  by  her  own  hum-drum  song, 
She  left  the  cares  of  life  behind, 

And  slept  as  she  would  sleep  her  last; 
When  in  came,  housewifely  inclined, 

The  chamber-maid,  and  shut  it  fast; 
By  no  malignity  impelled, 
But  all  unconscious  whom  it  held. 

Awakened  by  the  shock,  cried  Puss, 

"Was  ever  cat  attended  thus! 

The  open  drawer  was  left,  I  see, 

Merely  to  prove  a  nest  for  me ; 

For  soon  as  I  was  well  composed, 

Then  came  the  maid,  and  it  was  closed. 

How  smooth  these  kerchiefs,  and  how  sweet! 

Oh,  what  a  delicate  retreat ! 

I  will  resign  myself  to  rest, 

'Till  Sol,  declining  in  the  west, 


56  THE  ELEMENTS  OF  ENGLISH   COMPOSITION. 

Shall  call  to  supper,  when,  no  doubt, 
Susan  will  come  and  let  me  out." 

The  evening  came,  the  sun  descended, 

And  Puss  remained  still  unattended. 

The  night  rolled  tardily  away 

(With  her,  indeed,  'twas  never  day), 

The  sprightly  morn  her  course  renewed, 

The  evening  gray  again  ensued ; 

And  Puss  came  into  mind  no  more 

Than  if  entombed  the  day  before. 

With  hunger  pinched,  and  pinched  for  room, 

She  now  presaged  approaching  doom, 

Nor  slept  a  single  wink,  or  purred, 

Conscious  of  jeopardy  incurred. 

That  night,  by  chance,  the  poet  watching, 

Heard  an  inexplicable  scratching ; 

His  noble  heart  went  pit-a-pat, 

And  to  himself  he  said,  "What's  that?" 

He  drew  the  curtain  at  his  side, 

And  forth  he  peeped,  but  nothing  spied ; 

Yet,  by  his  ear  directed,  guessed 

Something  imprisoned  in  the  chest, 

And,  doubtful  what,  with  prudent  care 

Resolved  it  should  continue  there. 

At  length  a  voice  which  well  he  knew, 

A  long  and  melancholy  mew 

Saluting  his  poetic  ears, 

Consoled  him  and  dispelled  his  fears. 

He  left  his  bed,  he  trod  the  floor, 

And  'gan  in  haste  the  drawers  explore, 

The  lowest  first,  and  without  stop 

The  rest  in  order,  to  the  top ; 

For  'tis  a  truth  well  known  to  most 

That  whatsoever  thing  is  lost 

We  seek  it,  ere  it  come  to  light, 

In  every  cranny  but  the  right. 


TRANSFORMATION   OF   ELEMENTS.  57 

—  Forth  skipped  the  cat,  not  now  replete, 

As  erst,  with  airy  self-conceit, 

Not  in  her  own  fond  apprehension 

A  (heme  for  all  the  world's  attention ; 

Bat  modest,  sober,  cured  of  all 

Her  notions  hyperbolical, 

And  wishing  for  a  place  of  rest 

Anything  rather  than  a  chest. 

Then  stepped  the  poet  into  bed, 

With  this  reflection  in  his  head : 

MORAL. 

Beware  of  too  sublime  a  sense 
Of  your  own  worth  and  consequence ! 
The  man  who  dreams  himself  so  great, 
And  his  importance  of  such  weight, 
That  all  around,  in  all  that's  done, 
Must  move  and  act  for  him  alone, 
Will  learn  in  school  of  tribulation, 
The  folly  of  his  expectation. 

William  Cowper. 


DEVELOPMENT  II. 

THE  DOG   AND  THE  SHADOW. 

Topical  Outline. 

Introduction.  —  ( ) 

r  1.  A  dog  crosses  a  stream  with  a  piece  of  meat  in 
his  mouth. 

2.  Thinks  his  reflection  in  the  stream  is  another 
dog. 

3.  Tries  to  snatch  the  meat  from  the  mouth  in  the 
stream. 

4.  Loses  his  own  meat. 
Conclusion. —  Moral:  the  punishment  of  greediness. 


Discussion.- 


58  THE   ELEMENTS  OF   ENGLISH   COMPOSITION". 

Tell  what  dog  it  was ;  how  he  got  his  meat ;  how  he  came  to  be 
crossing  the  bridge  ;  how  it  happened  that  he  did  not  know  his  own 
shadow  ;  what  dog  he  thought  he  recognized  in  the  brook  ;  whether 
in  attempting  to  seize  the  meat  he  was  acting  in  accordance  with 
his  natural  disposition,  or  whether  there  were  some  extenuating  cir- 
cumstances ;  how  he  bore  his  punishment ;  whether  he  learned  any 
lesson,  etc. 

DEVELOPMENT  III. 

A  CHRISTMAS  PIE.* 

One  night,  while  people  were  asleep, 

And  not  a  pussy-cat  was  nigh, 
Some  rats  ran  through  the  pantry  door 

And  carried  off  the  Christmas  pie. 
And  he  who  stood  to  carve  the  feast 

Had  all  and  more  than  he  could  do, 
To  cut  the  pie  in  seven  parts 

And  please  each  hungry  partner,  too. 

Palmer  Cox. 

Talk  about  the  rats  as  if  they  were  persons.  How  did  they  find 
out  about  the  pie?  Were  they  all  in  favor  of  the  hazardous  under- 
taking of  carrying  it  off  ?  Were  there  any  unusual  difficulties  in 
their  way  ?  any  unusual  inducements  ?  Who  was  the  boldest  among 
them  ?  Where  was  pussy  ?  Did  she  interfere  finally  with  their 
pleasure  ? 

DEVELOPMENT  IV. 

INO  AND  UNO. 

Ino  and  Uno  are  two  little  boys 
Who  are  always  ready  to  fight, 

Because  each  will  boast 

That  he  knows  the  most, 
And  the  other  one  cannot  be  right. 

♦Prom  " Large  Print  for  Little  Readers."    Boston:  D.  Lothrop  &  Co. 


TRANSFORMATION   OF   ELEMENTS.  59 

Ino  and  Uno  went  into  the  woods, 
Quite  certain  of  knowing  the  way: 

"  I  am  right ! "     "  You  are  wrong  1 " 

They  said,  going  along. 
And  they  didn't  get  out  till  next  day  ! 

Ino  and  Uno  rose  up  with  the  lark, 
To  angle  awhile  in  the  brook, 

But  by  contrary  signs 

They  entangled  their  lines, 
And  brought  nothing  home  to  the  cook  1 

Ino  and  Uno  went  out  on  the  lake, 
And  oh  !  they  got  dreadfully  wet  I 

While  discussion  prevailed 

They  carelessly  sailed, 
And  the  boat  they  were  in  was  upset. 

Though  each  is  entitled  opinions  to  have, 
They  need  not  be  foolishly  strong; 

And  to  quarrel  and  fight 

Over  what  we  think  right, 
Is,  You  know,  and  /  knoiv,  quite  wrong. 

Josephine  Pollard,  in  "St.  Nicholas." 


CHAPTER  III. 


PRINCIPLES  OF  EXPRESSION". 

The  pupil  will  now  proceed  to  the  consideration  of 
some  of  the  simpler  principles  of  rhetoric.  The  full  dis- 
cussion of  these  principles  must  of  course  be  left  to  the 
rhetorics,  but  enough  can  be  learned  even  at  this  stage  to 
enable  him  to  avoid  the  grosser  blunders  into  which  he 
would  otherwise  be  likely  to  fall.  The  principles  treated 
refer  chiefly  to  the  two  qualities  of  style, —  clearness  and 
strength. 

PRINCIPLE  I.— Personal  Pronouns. 

Example  1. — The  farmer  went  to  his  neighbor  and  told  him  that 
his  cattle  were  in  his  fields. 

This  sentence  evidently  lacks  clearness.  It  is  not  clear 
whether  the  neighbor's  cattle  were  in  the  farmer's  fields, 
or  the  farmer's  cattle  in  the  neighbors  fields.  To  correct 
it  we  must  in  some  way  make  perfectly  evident  what  is 
meant.  We  might  substitute  the  noun  in  each  case,  and 
say:  The  farmer  told  his  neighbor  that  the  neighbor's 
cattle  were  in  the  fanner's  fields.  But  this  repetition  is 
unnecessarily  long  and  awkward.  If,  however,  we  change 
to  direct  narration  (see  Principle  XVII.)  we  can  express 
every  possible  meaning  with  perfect  clearness;  as,  The 
farmer  went  to  his  neighbor  and  said,  "  Your  cattle  are 
in  my  fields" 


PRINCIPLES   OF   EXPRESSION.  -  61 

Example  2. —  The  barons  were  summoned  by  their  kings  when 
they  were  compelled  by  their  wants  or  their  fears  to  have  recourse 
to  their  aid. 

Is  it  the  wants  and  fears  of  the  barons,  or  of  the  kings? 
The  meaning  is  obscure.  Here  again  we  might  repeat  the 
noun,  but  a  better  way  is  to  change  the  number,  and  wr-ite 
king  instead  of  kings;  thus,  Tfie  barons  were  summoned 
by  their  king  when  he  was  compelled  by  his  wants  or  his 
fears  to  have  recourse  to  their  aid. 

Principle. — Indicate  clearly  the  antecedent  of  personal 
pronouns.  Clearness  may  be  obtained  sometimes  by  sub- 
stituting direct  for  indirect  narration,  sometimes  by 
repeating  the  antecedent,  sometimes  by  changing  the  num- 
ber of  one  of  the  antecedents,  sometimes  by  changing  the 
order.  Occasionally  sentences  in  themselves  not  clear  may 
be  tolerated  if  the  context  gives  the  meaning  easily  and 
unmistakably. 

Exercise  36. — Of  the  following  examples, 'correct  all 
that  are  faulty. 

1.  His  friend  told  him  that  he  was  sick,  and  that  he  ought  to 
send  for  a  doctor.  2.  In  giving  descriptions  of  battles,  he  never 
referred  to  his  own  exploits,  though  lie  was  often  in  the  thickest 
parts  of  them.  3.  A  boy  asked  his  father  how  old  he  was.  4.  He 
told  him  that,  he  was  going  to  visit  him  at  his  house  in  the  country. 
5.  Elsie's  mother  died  when  she  was  quite  young.  C.  The  lad  can- 
not leave  his  father,  for  if  the  lad  should  leave  his  father,  his  father 
would  die.  7.  I  reifllmber  that  puppy  story.  I  took  it  up  in  my 
arms,  but  it  slipped  through  and  broke  one  of  its  legs.  8.  The  maid 
told  her  mistress  that  her  sister  was  coming  into  the  city,  and  that 
she  wished  her  to  meet  her  at  the  station.  9.  He  told  him  to  go  to 
his  father  and  ask  him  to  lend  him  five  dollars.  10.  He  was  sur- 
prised, he  said,  that  he  had  not  procured  the  release  of  his  friend. 
11.  The  boy  came  to  the  schoolmaster  at  all  his  leisure  hours,  and 


62  THE   ELEMENTS   OF   ENGLISH   COMPOSITION. 

learned  so  rapidly  that  he  recommended  him  to  a  nobleman  who 
resided  in  the  neighborhood.  He  was  as  noble  in  mind  as  he  was  in 
birth,  and  he  patronized  him  and  sent  him  to  school. 

12.  In  the  following  story  which  Burton  tells  of  Billy  Williams, 
the  comic  actor,  put  Billy's  remarks  together  and  correct  them : 

."So  down  I  goes  to  the  stable  with  Tom  Flynn,  and  told  the 
man  to  put  the  saddle  on  him." 

"On  Tom  Flynn?" 

"No,  on  the  horse;  and  then  I  shook  hands  with  him  and  rode 
off." 

"Shook  hands  with  the  horse,  Billy?" 

"No,  with  Tom  Flynn;  and  then  I  rode  off  up  the  Bowery,  and 
who  should  I  meet  in  front  of  the  Bowery  Theater  but  Tom  Hamb- 
lin ;  so  I  got  off  and  told  the  boy  to  hold  him  by  the  head." 

"What!  hold  Hamblin  by  the  head?" 

"No,  the  horse;  and  then  we  went  and  had  a  drink  together." 

"What!  you  and  the  horse?" 

"No,  me  and  Hamblin;  and  after  that  I  mounted  him  again, 
and  went  out  of  town." 

"What!  mounted  Hamblin  again?" 

"No,  the  horse;  and  when  I  got  to  Burnham,  who  should  be 
there  but  Tom  Flynn,  —  he'd  taken  another  horse  and  rode  out 
ahead  of  me;  so  I  told  the  hostler  to  tie  him  up." 

"Tie  Tom  Flynn  up?" 

"  No,  the  horse;  and  we  had  a  drink  together." 

"  What!  you  and  the  horse?" 

"  No,  me  and  Tom  Flynn!  " 

Finding  his  auditors  by  this  time  in  a  horse  laugh,  Billy  wound 
up  with  — 

"Now,  look  here, — every  time  I  say  horse,  you  say  Hamblin, 
and  every  time  I  say  Hamblin,  you  say  horse.  I'll  be  hanged  if  I 
tell  you  any  more  about  it." 


PRINCIPLES   OF   EXPRESSION.  63 

PRINCIPLE  II.— Relative  Pronouns. 

Example. —  He  was  arrested  in  bed,  and  attempted  to  commit 
suicide  by  firing  a,  pistol  at  his  head,  which  he  had  concealed  among 
the  bed-clothes. 

To  what  does  the  relative  which  refer  ?  From  its  posi- 
tion it  ought  to  refer  to  head,  but  from  the  sense  we  know 
it  refers  to  pistol.  A  slight  change  in  the  order  will  pre- 
vent the  suggestion  of  another  than  the  true  meaning; 
thus,  by  firing  at  his  head  a  pistol  which  he  had  con- 
cealed among  the  bed-clothes. 

Principle. — Indicate  clearly  the  antecedent  of  rela- 
tive pronouns.  The  "  sin  of  whichcraft "  may  commonly 
be  avoided  by  placing  the  relative  close  to  its  antecedent. 
Avoid  not  only  such  positions  as  would  make  the  mean- 
ing doubtful,  but  also  such  as  would  suggest  an  impossi- 
ble or  absurd  meaning.  Do  not,  except  as  a  last  resort, 
rely  upon  the  punctuation  to  make  clear  a  doubtful 
passage. 

Exercise  37. —  Of  the  following  examples,  correct 
all  that  are  faulty.     Give  reasons  in  full. 

1.  A  little  girl  went  to  a  neighbor's  house  that  had  light-blue 
eyes  and  golden  curls.  2.  A  chair  was  sent  to  the  joiner's  that  had 
a  broken  back.  3.  Lost:— a  white  rabbit  by  a  lady  that  has  pink 
eyes  and  long  ears.  4.  During  the  procession  a  child  was  run  over, 
wearing  a  short  red  dress,  which  never  spoke  afterward.  5.  We  have 
received  a  basket  of  grapes  from  our  old  friend  Jones,  for  which  he 
will  accept  our  compliments,  some  of  which  are  nearly  two  inches 
in  diameter.  C.  Besides  this  he  had  on  a  cloak  extending  half-way 
down  his  thigh  which  was  colored  crimson.  7.  The  Romans  en- 
gaged in  the  Macedonian  war  in  consequence  of  an  attack  on  Ath- 
ens by  Philip  which  was  an  ally  of  Rome.  8.  Her  husband  was  a 
gallant  colonel  in  full-bottomed  wig  and  gold-laced  hat,  that  was 


64  THE   ELEMENTS   OF   ENGLISH   COMPOSITION". 

killed  abroad.  ,9.  On  each  side  are  pavements  for  pedestrians  that 
are  from  six  to  eight  feet  wide.  10.  They  forsook  the  officers  com- 
manding them  who  were  killed,  ill.  A  proclamation  has  been 
issued  from  Mecca,  warning  all  true  believers  to  prepare  for  the 
coming  day,  which  has  been  widely  circulated  and  has  created  a 
great  deal  of  excitement.  12.  To  this  group  belongs  the  Iguano- 
don,  of  the  Wealden  beds,  first  made  known  by  Dr.  Mantell,  whose 
body  was  twenty-eight  to  thirty  feet  long.  13.  The  fruit  was  in 
glass  cans  which  we  ate.  14.  Two  men  opened  a  show-case,  and 
removed  $12,000  worth  of  diamonds  and  jewelry,  just  after  the 
doors  were  opened,  with  which  they  walked  away. 

PRINCIPLE  III.— Number  of  Relatives  in  a  Sentence. 

Example. —  In  a  pleasant  district  which  lies  in  the  southern  part 
of  York  was  an  extensive  forest,  which  in  ancient  da'ys  extended 
over  a  greater  part  of  the  country  which  lies  between  Sheffield  and 
Doncaster. 

It  is  often  impossible  to  tell,  where  several  pronouns 
are  used  in  the  same  sentence,  whether  they  all  refer  to 
the  same  or  to  different  antecedents.  Here  the  pronoun 
which  has  three  different  antecedents.  This  is  very  con- 
fusing. It  is  moreover  very  easy  to  go  on  in  this  way 
adding  clause  to  clause  until  as  in  the  famous,  This  is  the 
cow  with  the  crumpled  horn  that  tossed  the  dog  that  wor- 
ried  the  cat  that  killed  the  rat,  etc.,  there  is  no  proper 
connection  between  the  beginning  and  the  end.  The 
example  can  be  corrected  by  simply  omitting  the  first  and 
last  which,  together  with  the  verb,  thus:  In  a  pleasant  dis- 
trict hi  the  southern  part  of  York  was  an  extensive  for- 
est, which  in  ancient  days  extended  oner  a  greater  part 
of  the  country  between  Sheffield  and  Doncaster. 

Principle. — Limit  as  far  as  possible  the  number  of 
relatives  in  a  sentence  unless  they  all  refer  to  the  same 


PRINCIPLES  OF   EXPRESSION.  65 

antecedent.  If  you  must  use  more  than  one,  use  if  possi- 
ble different  words  ;  as  which  that;  not  which  which. 
Remember  to  use  that  in  restrictive  clauses.  Sometimes 
the  excessive  use  of  pronouns  can  be  avoided  by  repeating 
the  antecedent,  sometimes  by  changing  a  clause  to  a 
phrase,  and  sometimes  only  by  completely  recasting  the 
sentence. 

Exercise  38. —  Correct  all  the  faulty  examples.  Ex- 
plain fully. 

1.  The  mountain  stream  fell  into  the  basin,  which  was  blaek 
from  the  shadows  of  the  mountains  which  surrounded  it. 

2.  Be  had  no  weapon  excepting  a  poniard  which  was  suspended 
from  a  belt,  which  served  to  counterbalance  the  weight  of  the  rusty 
keys  which  hung  at  his  side. 

3.  Above  all  lie  had  that  unbending  resolution  with  which  Israel- 
ites have  been  frequently  known  to  submit  to  the  uttermost  evils 
which  power  and  violence  can  inflict  upon  them,  rather  than  to 
gratify  their  oppressors  by  granting  the  demands  which  they  make. 

4.  This  had  been  settled  in  a  council,  in  which,  after  a  long  and 
warm  debate  concerning  the  several  advantages  which  each  insisted 
upon  having  for  his  peculiar  share  in  this  audacious  enterprise,  they 
had  at  length  determined  upon  the  fate  which  should  be  awarded 
the  unhappy  prisoners. 

5.  His  reign  was  like  the  course  of  a  brilliant  and  rapid  meteor, 
which  shoots  along  the  faee  of  heaven,  which  sheds  around  an  un- 
necessary and  portentous  light,  which  is  instantly  swallowed  up  by 
universal  darfhn 

C.  The  soft  and  gentle  river  Don  sweeps  through  an  amphithea- 
tre in  which  cultivation  is  richly  blended  with  woodland  ;  and  on  a 
mount,  which  ascends  from  the  river,  which  is  well  defended  by  its 
walls  and  ditches,  rises  this  ancient  edifice,  which,  as  its  Saxon  name 
implies,  was,  previous  to  the  conquest,  a  residence  of  the  kings  of 
England. 

5 


66  THE   ELEMENTS   OF   ENGLISH   COMPOSITION. 

7.  Mrs.  Glegg  inherited  such  a  bone,  which  she  had  inherited 
from  her  grandmother  with  a  brocaded  gown  that  would  stand  up 
empty,  like  a  silver-headed  walking-stick. 

PRINCIPLE  IV.— "And  Which." 

Example. —  I  have  a  book  printed  at  Antwerp,  and  which  was 
once  possessed  by  Adam  Smith. 

And  should  join  like  elements,  but  here  it  joins  a 
participle  and  a  relative  clause.  To  correct  it  we  must 
convert  these  into  like  elements ;  thus,  I  have  a  booh 
printed  at  Antwerp,  and  once  possessed  by  Adam  Smith ; 
or,  I  have  a  booh  that  was  printed  at  Antwerp,  and  that 
was  once  possessed  by  Adam  Smith. 

Principle. — A  co-ordinate  conjunction,  as  "and" 
"  but"  must  not  stand  before  a  relative,  unless  the  conjunc- 
tion joins  the  relative  clause  to  another  relative  clause. 
Sometimes  the  elements  must  be  transformed,  sometimes 
the  and  can  be  omitted. 

Exercise  39. —  Correct  all  the  faulty  examples.  Ex- 
plain fully. 

1..  Miss  Hardcastle  is  about  to  meet  her  future  husband,  Mr. 
Marlow,  son  of  Sir  Charles  Marlow,  and  whom  she  has  never  seen. 
2.  He  now  visits  Mrs.  Cavendish  who  is  quite  delighted  with  him, 
and  who  reads  him  a  letter  from  that  "beggarly  captain"  and  which 
she  has  just  intercepted.  3.  It  is  said  that  there  was  under  the  tree 
a  dragon  with  a  hundred  heads,  and  fifty  of  which  were  always  on 
the  watch  while  the  other  fifty  slept.  4.  I  saw  her  again  laid  tip 
with  a  fever  she  had  caught  in  her  vacation  and  which  proved  fatal. 
5.  In  his  girdle  stuck  a  large  weapon  bearing  the  name  of  a  Sheffield 
whittle,  and  which  was  manufactured  in  the  vicinity.  6.  Mrs.  Har- 
riet Bowers,  widow  of  Jonathan  Bowers,  and  who  has  held  the 
position  of  postmistress  at  Morrisville  some  nine  years,  died  on  Sun- 


PRINCIPLES   OF   EXPRESSION.  67 

day.  7.  After  residing  at  the  north  for  some  years,  he  was  called 
to  London  by  a  friend  and  whom  he  had  formed  the  acquaintance 
of  at  Cambridge. 

PRINCIPLE  V.  — Participles. 

Example. — Rising  from  these  elevated  table-lands,  the  traveller 
will  see  lofty  ranges  of  granite  mountains. 

We  instantly  query  whether  it  is  the  traveller  that  rises, 
or  the  ranges.  Which  word  is  limited  by  the  participle? 
Supposing  it  to  be  ranges,  we  may  correct  thus:  The 
traveller  will  see  lofty  ranges  of  granite  mountains  ris- 
ing from  these  elevated  table-lands;  or,  Rising  from 
these  elevated  table-lands  are  lofty  ranges  of  granite 
mountains. 

Principle. — Indicate  clearly  the  use  of  participles. 
Like  relative  pronouns  they  should  stand  as  near  as 
possible  to  the  noun  to  which  they  refer.  Do  not  rely 
upon  the  punctuation  to  make  an  obscure  passage  clear. 

Exercise  40.—  Correct  all  faulty  examples.  Explain 
fully. 

1.  Rosamond  threw  herself  on  her  face  the  moment  she  saw  the 
dog  trembling  from  head  to  foot.  2.  A  boy  named  Bertram,  while 
driving  a  horse,  was  kieked  in  the  mouth  by  the  animal,  knocking 
out  his  front  teeth.  3.  I  saw  four  white  cows  sitting  on  the  steps. 
4.  There  are  numberless  canals  bordered  with  willows  covered 
willi  sails.  5.  Scrooge  followed  to  the  window,  desperate  in  his 
curiosity.  6.  These  islands  are  the  residence  of  wild  fowl  composed 
of  rock  with  a  slight  covering  of  herbage.  7.  A  pocket-book  was 
found  by  a  boy  made  of  leather.  8.  She  walked  with  a  lamp  across 
the  room  si  ill  burning.  9.  A  yoke  of  oxen  was  bought  at  auction  by 
a  fanner  of  Reading  weighing  at  least  2,500  pounds.  10.  Turning 
my  eyes  toward  him,  he  began  to  play  upon  the  instrument  in  his 
hand.     11.  Hoping  to  hear  from  you  soon,  believe  me  truly  yours. 


68  THE   ELEMENTS   OF   ENGLISH   COMPOSITION.. 

12.  The  hotel  was  full  of  guests,  badly  built,  very  combustible,  and 
unprovided  with  means  of  escape.  13.  On  raising  the  window,  the 
mouse  ran  out  through  the  wires  of  the  cage.  14.  The  father  and 
brother  of  a  handsome  and  highly  accomplished  girl  in  Boston 
had  long  treated  her  cruelly,  she  said,  and  having  fallen  in  love 
with  a  young  man,  expected  soon  to  marry  him.  15.  The  train 
consisted  of  four  coaches,  one  mail  and  one  express  car,  with  sev- 
enty-five passengers  aboard,  carrying  the  mail  and  $8,000  of  silver 
in  the  express  safe. 

PRINCIPLE  VI.— Phrases  and  Adverb  Clauses. 

Example. —  He  was  driving  away  from  the  church  where  he  had 
been  married  in  a  coach  and  six. 

Was  he  married  in  a  coach  and  six  ?  It  seems  to  say 
so.  But  as  that  is  absurd,  it  must  mean  that  he  was 
driving  away  in  a  coach  and  six.  To  say  this  clearly  we 
have  merely  to  change  the  position  of  the  phrase,  thus: 

He  was  driving  away  in  a  coach  and  six  from  the 
church  where  he  had  been  married. 

Principle.— Place  phrases  and  adverb  clauses  in  such 
a  position  as  clearly  to  give  the  meaning. 

Exercise  41. —  Correct  the  faulty  examples.     Explain 

fully. 

1.  This  stone  is  erected  to  the  memory  of  Thomas  Faulkner, 
who  was  accidentally  shot,  by  his  brother  as  a  token  of  his  affec- 
tion. 2.  He  went  to  town  driving  a  flock  of  sheep  on  horseback. 
3.  The  bill  of  fare  was  not  so  good  as  it  should  have  been  after  the 
friends  of  the  institution  decreased.  4.  Miss  Kellogg  received 
$1,000  for  singing  two  ballads,  and  a  superb  bracelet  of  diamonds 
and  rubies.  5.  She  listened  to  the  prophecy  he  told  her  with  great 
care.  6.  Our  house  was  built  by  a  queer  old  gentleman  with  seven 
gables.    7.  A  young  woman  died  yesterday  not  far  from  where  I 


PRINCIPLES  OF   EXPRESSION.  69 

was  preaching  in  a  beastly  state  of  intoxication.  8.  The  ghost  told 
Hamlet  that  he  had  been  murdered  while  sleeping  in  the  garden  by 
his  brother.  9.  A  letter  was  written  by  Mary  Queen  of  Scots  to  be 
delivered  to  Elizabeth  after  she  was  executed  at  her  own  request. 
10.  There  will  therefore  be  two  trials  in  this  town  at  that  time,  for 
crimes  which  are  punishable  with  death,  if  a  full  court  should  at- 
tend. 11.  Andrew  Smyth  has  been  sent  to  the  Reform  School  on 
account  of  disorderly  conduct  for  a  term  of  three  years.  12.  For 
sale : —  A  first-class  piano,  the  property  of  a  young  gentleman  about 
to  travel,  with  a  rosewood  case  and  carved  legs.  13.  A  little  mouse 
that  had  lived  for  years  in  the  residence  of  a  rich  merchant  who 
lived  in  Africa,  without  being  caught  by  the  cat,  began  to  have  a 
very  good  opinion  of  herself.  14.  The  plump  landlord  stood  lean- 
ing against  the  doorway  with  both  hands  in  his  pockets  down  stairs. 
15.  He  was  stabbed  with  his  own  dagger  which  he  had  drawn  in  a 
quarrel  a!  the  early  age  of  thirty.  16.  She  was  buried  from  St. 
Thomas'  Chureh  of  which  she  was  a  life-long  member  Wednesday 
forenoon.  17.  I  saw  an  old  woman  knitting  with  a  Roman  nose. 
18.  Eight  shots  were  fired  by  those  that  were  placed  to  watch  the 
house  without  effect.  19.  In  Swiggs  County,  Georgia,  the  other 
day  a  deer  was  killed  running  with  a  railroad  shovel  in  the  hands  of 
one  of  the  workmen. 

PRINCIPLE  VII.  —  Unnecessary  Repetition. 

Example. —  God  is  eternal,  and  his  existence  is  without  beginning 
and  without  end. 

The  italicized  expression  has  the  same  meaning  as 
eternal.  It  is  therefore  superfluous,  and  should  be  omit- 
ted. If,  however,  it  is  not  intended  as  an  additional 
thought,  but  as  an  explanation  of  eternal,  or  an  emphatic 
way  of  re-stating  the  same  thought,  then  the  and  should 
be  omitted. 

Principle. — Avoid  all  unnecessary  and  unpleasant 
repetition  either  of  sound  or  sense. 


70  THE   ELEMENTS   OF   ENGLISH   COMPOSITION. 

Exercise  42. —  Correct  all  faulty  examples. 

1.  He  had  the  entire  monopoly  of  the  whole  trade  in  salt.  2. 
Charles  has  his  pockets  full  of  a  great  many  apples.  3.  This  play 
abounds  in  a  great  many  laughable  scenes.  4.  The  names  of  our 
forefathers  who  came  before  us  should  be  held  in  reverence.  5.  The 
man  of  the  foretold  prophecy  had  at  last  appeared.  G.  It  is  a  great 
pity  that  writings  should  be  written  in  this  manner.  7.  The  man 
had  an  immense  great  big  chart.  8.  He  is  a  royal  messenger  sent 
by  the  king.  9.  He  is  the  universal  favorite  of  all  that  know  him. 
10.  0  cold,  cold,  rigid,  dreadful  Death,  set  up  thine  altar  here,  and 
dress  it  with  such  terrors  as  thou  hast  at  thy  command.  11.  Many 
hard  and  trying  difficulties  are  in  his  path.  12.  She  was  necessa- 
rily obliged  to  communicate  it  to  her  parents.  13.  I  spent  some 
time  in  thinking  of  this  scene,  and  the  other  things  I  had  seen. 
14.  The  shores  are  inhabited  by  warlike  and  hostile  enemies.  15. 
Come  to-morrow  at  eight  o'clock  p.m.  in  the  afternoon.  16.  She 
was  a  wealthy  widow  lady.  17.  It  was  well  lighted  up  with  brill- 
iant lights.  18.  At  the  police  station  he  was  recognized  as  an  old 
offender,  and  was  afterward  sentenced  to  a  term  in  State  Prison  a 
few  weeks  later. 


PRINCIPLE  VIII.— Fine  Effect  of  Repetition. 

Principle. — Do  not  hesitate  to  repeat,  if  by  repeti- 
tion the  thought  can  be  expressed  more  clearly  or  more 
vigorously. 

The  following  examples  illustrate  the  fine  effect  of 
repetition. 

1.  The  lad  cannot  leave  his  father,  for  if  the  lad  should  leave 
his  father,  his  father  would  die. 

2.  But  it  was  a  provision  honorably  made  and  honorably  be- 
stowed. 

3.  By  foreign  hands  thy  dying  eyes  were  closed, 
By  foreign  hands  thy  decent  limbs  composed, 


PRINCIPLES  OF   EXPRESSION.  71 

By  foreign  hands  thy  humble  grave  adorned, 
By  strangers  honored,  and  by  strangers  mourned. 

4.     He  sung  Darius  gK*U  and  good, 
By  too  severe  a  fate, 
Fallen,  fa/loi,  fi/Itu,  fallen. 
Fallen  from  his  high  estate 
And  weltering  in  bis  blood. 

But  not  to  me  returns 
Day,  or  the  sweet  approach  of  ev'n  or  morn, 
Or  sight  of  vernal  bloom,  or  summer's  rose, 
Or  flocks  or  herds,  or  human  face  divine. 


PRINCIPLE  IX.— Omission. 

Principle. —  Ambiguity  is  often  caused  by  the  omis- 
sion of  the  relative,  of  the  preposition,  of  the  verb  after 
than  or  as,  of  the  conjunction  that,  etc. 

1.  He  likes  me  better  than  you.  Say,  better  than  you 
do,  or  better  than  he  likes  you. 

2.  Don't  forget  the  youth  was  the  greater  fool  of  the 
two,  and  the  master  served  such  a  booby  rightly  in  turn- 
ing him  out  of  doors.  Say,  Don't  forget  that  the  youth 
was  the  greater  fool  of  the  two,  and  that  the  master,  etc. 

3.  Such  a  church  always  has  and  will  exist.  Say,  Such 
a  church  always  has  existed  and  always  will  exist. 

4.  Florio  was  taught  to  rejoice  at  the  sight  of  Eu- 
doxus,  who  visited  his  friend  very  frequently,  and  was 
dictated  by  his  natural  affection  to  make  himself  known 
to  him.  Say,  and  who  was  dictated,  etc.  Otherwise  it 
might  mean  that  Florio  was  dictated. 


72  THE   ELEMENTS   OF   ENGLISH   COMPOSITION. 

PRINCIPLE  X.-"And.» 

Example. — The  astronomer  was  at  his  telescope,  and  the  great 
ships  were  laboring  over  the  waves,  and  the  toiling  eagerness  of 
commerce  and  the  fierce  spirit  of  revolution  were  only  ebbing  in  brief 
rest,  and  sleepless  statesmen  were  dreading  the  possible  crises  of  the 
morrow. 

One  of  the  most  common  faults  in  young  writers  is  the 
unnecessary  use  of  and.  The  ands  can  often  be  omitted, 
or  the  sentence  can  be  so  transformed  that  they  are  not 
needed.  In  the  example,  all  difficulty  can  be  avoided  by 
omitting  the  first  two  conjunctions  ;  thus,  The  astronomer 
was  at  his  telescope/  the  great  ships  were  laboring  over 
the  waves;  the  toiling  eagerness  of  commerce  and  the 
fierce  spirit  of  revolution  were  only  ebbing  in  brief  rest ; 
and  sleepless  statesmen  were  dreading  the  possible  crises  of 
the  morrow. 

Principle. — Avoid  an  unpleasant  repetition  of  "and." 

Exercise  43. —  Remove  all  unnecessary  ands. 

1.  These  objects  struck  the  natives  with  terror,  and  they  began 
to  respect  their  new  guests  as  a  superior  order  of  beings,  and  con- 
cluded that  they  were  the  children  of  the  sun  and  had  descended  to 
visit  the  earth. 

2.  From  all  these  symptoms,  Columbus  was  confident  of  being 
near  land,  and  on  the  evening  of  the  11th  of  October,  he  ordered 
the  sails  to  be  furled,  and  the  ship  to  bring  to,  and  strict  watch  to 
be  kept,  lest  they  should  be  driven  on  shore  in  the  night. 

3.  Then  did  iEneas  pass  on  his  way,  and  the  goddess  led  him, 
and  the  flames  gave  place  to  him,  and  the  javelins  harmed  him  not. 

4.  The  daylight  had  dawned  upon  the  glades  of  the  oak  forests, 
and  the  green  boughs  glittered  with  all  their  pearls  of  dew,  and  the 
hind  led  her  fawn  from  the  covert  of  high  fern  to  the  more  open 
walks  of  the  green  wood,  and  no  huntsman  was  there  to  watch  or 
intercept  the  stately  hart  as  he  paced  at  the  head  of  the  antlered 
herd. 


PRINCIPLES   OF  EXPRESSION.  73 

PRINCIPLE  XI.— Climax. 

Example. — We  may  die,  die  colonists,  die  slaves,  die,  it  may  be, 
ignominiously  and  on  the  scaffold. 

Notice  that  the  parts  are  arranged  in  order  of  strength, 
the  strength  increasing  from  the  beginning  to  the  end.  To 
die  slaves  is  worse  than  to  die  colonists,  to  die  on  the  scaf- 
fold is  the  worst  of  all.  Reverse,  or  in  any  way  change 
this  order,  and  the  strength  of  the  sentence  is  gone. 

Principle. — Arrange  the  parts  of  a  sentence  in  the 
order  of  strength,  beginning  with  the  least  forcible.  Such 
an  arrangement  is  called  a  climax,  that  is,  a  ladder. 

Exercise  44. —  Re-arrange  in  order  of  climax. 

1.  Learn  to  do  well !  Cease  to  do  evil  !  Steal  no  more  !  2.  He 
then  drew  a  picture  of  the  sufferings  of  the  Saviour  ;  his  death  ;  his 
crucifixion  ;  his  trial  before  Pilate  ;  and  his  ascent  up  Calvary.  3. 
It  is  great  to  labor,  to  suffer,  to  live,  for  great  public  ends.  4.  To 
what  did  he  sacrifice  country,  rank,  power,  and  freedom  itself?  5. 
The  ponderous  machinery  of  the  French  Empire  was  flying  asunder, 
rending,  crushing,  stunning  thousands  on  every  side.  6.  We  can 
look  to  the  throne  of  God  ;  change  and  decay  have  never  reached 
that  ;  the  waves  of  eternity  have  been  rushing  past  it,  but  it  has 
remained  unshaken  ;  the  revolution  of  ages  has  never  moved  it.  7. 
I  have  no  wish  to  trample  upon  the  memory  of  Napoleon  the  First, 
whom  I  regard  as  by  no  means  the  worst  of  men,  the  most  arbitrary 
of  despots,  or  the  most  ambitious  of  conquerors.  8.  If  we  must  die, 
let  it  be  under  the  clear  sky,  by  the  bright  waters,  in  noble,  honora- 
ble battle  !  If  we  must  fight,  let  us  fight  for  ourselves  !  If  we  must 
slaughter,  let  us  slaughter  our  enemies.  9.  What  a  piece  of  work  is 
man  !  in  action  how  like  an  angel !  in  form  and  moving  how  express 
and  admirable  !  in  apprehension  how  like  a  God  !  how  noble  in  rea- 
son !  how  infinite  in  faculties  !  10.  Wherein  1  spake  of  most  disas- 
trous chances;  of  hair-breadth  'scapes  in  the  imminent,  deadly  breach ; 
of  being  taken  by  the  insolent  foe,  and  sold  to  slavery;  of  moving 
accidents  by  flood  and  field. 


3- 


74  THE   ELEMENTS   OF   ENGLISH   COMPOSITION. 

PRINCIPLE  XII.  — Position  of  Phrases. 

Principle. — 1.  Phrases  should  not  be  crowded  unpleas- 
antly together.  2.  Phrases  may  often  be  placed  with 
good  effect  at  the  beginning  of  the  sentence,  especially 
if  it  is  desired  to  throw  the  subject  for  emphasis  toward 
the  end. 

Exercise  45. —  Put  the  phrases  into  the  best  possible 
position. 

1.  His  lordship  in  some  degree  recovered,  medical  assistance 
having  been  obtained,  and  was  conveyed  to  his  favorite  villa  of 
Hayes  in  Kent,  where,  May  11,  1778,  in  the  seventieth  year  of  his 
age  he  expired.  2.  The  Forfarshire  steamer,  under  the  command  of 
Captain  John  Humble,  of  about  three  hundred  and  twenty  tons 
burden,  sailed  from  Hull  on  a  voyage  to  Dundee,  September  5, 
1838,  on  Wednesday  morning.  3.  A  brazen  statue  of  Justice  stood 
in  the  public  square,  once  in  an  ancient  city,  whose  name  I  no 
longer  remember,  raised  aloft  on  a  column,  upholding  the  scales  in 
its  left  hand,  and  in  its  right  a  sword.  4.  The  lovely  stars  blos- 
somed in  the  infinite  meadows  of  heaven,  silently,  one  by  one.  5. 
She  entered  the  door  of  the  almshouse,  wending  her  quiet  way 
through  the  streets  deserted  and  silent  on  a  Sabbath  morn.  6.  Into 
the  lock  of  the  wicket  which  opened  into  the  castle  garden,  at  the 
dead  hour  of  midnight,  the  page  put  the  key,  when  all  was  silent  in 
the  garden.       * 

PRINCIPLE  XIII.— Emphasis. 

Example. —  If  thou  didst  ever  thy  dear  father  love,  revenge  his 
foul  and  most  unnatural  murder. 

The  principal  thing  that  the  Ghost  wishes  to  tell  Ham- 
let is  that  he  (Hamlet's  father)  was  murdered,  and  that 
Hamlet  must  revenge  the  murder.  But  by  the  same  prin- 
ciple as  in  Climax,  the  less  important  part  must  be  put 


PRINCIPLES   OF   EXPRESSION.  75 

first.     Reverse  the  order,  place  the  dependent  clause  at 
the  end,  and  see  how  much  is  lost  in  strength. 

Principle. — Place  the  emphatic  part  of  the  statement , 
whether  of  phrase  or  clause,  at  the  end.  As  the  depend- 
ent clause  is  not  often  the  emphatic  one,  it  should  not 
generally  come  at  the  end. 

Exercise  46. —  Correct  all  the  faulty  examples.  Ex- 
plain fully. 

1.  Then,  0  Cromwell,  thou  falls't  a  blessed  martyr,  if  thou 
falls't.  2.  I  would  never  lay  down  my  arms,  never!  never!  nowr! 
if  I  were  an  American  as  I  am  an  Englishman.  8.  The  sons  of 
men  shall  one  by  one  be  gathered  to  thy  sid<?,  as  the  long  train  of 
ages  glides  away.  4.  Thou  diest,  and  all  thy  goods  are  confiscate, 
it'  thou  takcst  more,  or  less,  than  just  a  pound  of  flesh,  nay,  if  the 
Bcafefl  <lo  turn  but  in  the  estimation  of  a  hair.  5.  Where  angels 
fear  to  tread,  fools  rush  in.  6.  If  you  prick  us,  do  we  not  bleed? 
Do  we  not  laugh  if  you  tickle  us?  If  you  poison  us,  do  we  not  die, 
and  shall  we  not  revenge  if  you  wrong  us?  7.  Where  snow  falls 
there  is  freedom.  8.  Stand  here  like  fat  oxen  waiting  to  be  killed, 
if  ye  are  beasts!  Follow  me,  if  ye  are  men!  9.  Let  us  at  least 
make  one  more  effort,  and  let  us  fall  like  men,  if  we  must  fall.  10. 
There  is  my  dagger,  and  here  my  naked  breast;  within,  a  heart 
dearer  than  Pluto's  mine,  richer  than  gold:  take  it  forth,  if  that 
thou  be'st  a  Roman.  11.  Thou  break'st  thy  instrument  if  thou  dost 
nod.     12.  If  you  dare,  do  that  thing  again. 

PRINCIPLE  XIV.— Change  of  Construction. 

Example  1.—  The  corrupt  heart  and  the  tongue  that  is  ready. 

One  of  these  nouns  is  limited  by  a  word  and  the  other 
by  a  clause.  Nothing  is  gained  by  such  an  arrangement, 
and  much  is  lost.  Say  rather,  The  corrupt  heart  and  the 
ready  tongue. 


76  THE   ELEMENTS   OF   ENGLISH   COMPOSITION. 

Example  2. —  His  face  and  figure  were  eminently  handsome,  and 
he  had  engaging  and  noble  manners. 

In  the  second  clause,  manners  should  be  put  in  the 
same  construction  as  the  words  face  and  figure,  that  is,  it 
should  be  the  subject.  Say,  and  his  manners  were  engag- 
ing and  noble. 

Principle. — Do  not  change  %tnnecessarily  the  con- 
struction of  a  sentence,  as  from  a  participial  phrase  to 
an  infinitive,  from  a  word  to  a  phrase,  from  a  phrase  to 
a  clause,  etc. 

Exercise  47. —  Change  to  similar  constructions.  Ex- 
plain fully. 

1.  He  decided  to  visit  the  gorge,  and  if  he  saw  any  of  the  party, 
he  would  ask  for  his  dog  and  gun.  2.  He  was  inferior  in  both  nat- 
ural abilities  and  those  that  are  acquired.  3.  The  old  inform  the 
young,  and  the  young  animate  those  who  are  advanced  in  life.  4. 
I  remained  a  long  time  considering  the  number  of  things  connected 
with  this  marvellous  bridge  (the  bridge  of  death),  and  to  see  the  peo- 
ple falling  just  at  the  time  when  they  seemed  to  be  enjoying  them- 
selves. 5.  Their  business  is  to  depreciate  human  nature,  and  the 
considering  of  it  under  its  worst  appearances.  6.  They  give  mean 
interpretations,  and  motives  that  are  base,  to  the  worthiest  actions. 
7.  We  live  in  the  past  by  a  knowledge  of  its  history,  and  we  have 
hope  and  anticipation  in  the  future.  8.  Almost  every  object  that 
attracts  our  notice  has  its  bright  side  and  that  which  is  dark. 

PRINCIPLE  XV.— Thoughts  not  Connected. 

Example. — Goldsmith  was  a  clergyman's  son,  and  very  early  in 
life  he  had  the  small-pox. 

As  these  two  statements  are  joined  in  one  sentence, 
they  should  have  some  natural  connection.  But  surely 
Goldsmith's  having  had  the  small-pox  has  nothing  what- 


PRINCIPLES   OF    EXPRESSION.  77 

ever  to  do  with  his  being  a  clergyman's  son.  Divide  into 
two  sentences,  filling  out  each  part;  as,  Goldsmith  was 
the  son  of  a  poor  clergyman  in  the  village  of  Pallas,  Ire- 
land. In  early  childhood  he  had  the  smallpox,  the  scars 
of  which  he  bore  through  life. 

Principle. — Do   not  crowd   into   the  same   sentence 
thoughts  that  have  no  relation  to  each  other. 

Exercise  48. —  Correct  the  following: 

1.  His  head  was  supported   by  a  bundle  of  clothing,  but  all 

efforts  to  restore  life  were  fruitless.     2.  He  was  full  of  remorse,  and 

<K         the  clang  of  his  armor,  as  he  climbed  down  the  steep  crags,  could 

be  heard  for  some  distance.     3.  He  leaves  a  wife  and  seven  sons, 

and  his  estate  is  estimated  by  the  newspapers  at  live  million  dollars. 


COMBINATION  OF  DETACHED  ELEMENTS. 

In  the  following  exercise  the  pupil  is  required  to  com- 
bine the  detached  elements  into  one  or  more  well  arranged 
sentences.     Apply  carefully  the  Principles  of  Expression. 

Example. — Detached  Elements. —  A  river  ran  at  the  foot  of 
the  hill.  The  river  was  deep-banked.  The  river  was  clear.  The 
river  was  bounded  on  one  side  by  a  slip  of  meadow.  The  meadow 
was  level.  The  meadow  was  rich.  The  river  was  bounded  on  the 
other  side  by  a  kind  of  common.  The  common  was  for  the  geese. 
Their  white  feathers  lay  scattered  over  the  green  surface.  They  lay 
there  in  the  summer  season. 

Combined. —  At  the  foot  of  the  hill  ran  a  clear,  deep-banked 
river,  bounded  on  one  side  by  a  slip  of  rich,  level  meadow,  and  on 
the  other  by  a  kind  of  common  for  the  village  geese,  whose  white 
feathers  during  the  summer  season  lay  scattered  over  its  green 
surface. —  Irving. 


78  THE   ELEMENTS   OF   ENGLISH    COMPOSITION. 

Exercise  49. —  This  renowned  kingdom  was  traversed  by  sier- 
ras. It  was  traversed  in  every  direction.  Sierras  are  chains  of 
lofty  mountains.  They  are  naked  mountains.  They  are  rugged 
mountains.  They  render  the  kingdom  almost  impregnable.  They 
lock  up  within  their  embrace,  valleys.  These  valleys  are  of  prodi- 
gal fertility.  They  are  verdant.  They  are  rich.  The  kingdom  is 
washed  on  one  side  by  the  Mediterranean  Sea.  It  is  situated  in  the 
southern  part  of  Spain; 

Exercise  50.—  He  chose  fifty  horsemen.  They  were  his  bravest. 
He  made  a  circuit.  Did  it  secretly.  Took  post  in  a  narrow  glen. 
Glen  opened  into  a  defile.  Defile  lay  between  rocky  heights.  The 
Moors  had  to  pass  through  the  defile.     (Principle  II.) 

Exercise  51. —  The  pavilion  of  the  king  stood  on  a  rising 
ground.  Pavilion  was  magnificent,  ample.  Banner  of  Castile  and 
Arragon  erected  before  it.  Holy  Standard  of  the  cross  erected 
before  it.     Ground  commanded  a  view  of  the  whole  encampment. 

Exercise  52.—  Erasmus  was  born  on  the  28th  of  October,  1467, 
at  Rotterdam.  The  same  year  Charles  the  Bold  became  Duke  of 
Burgundy.  Erasmus  was  born  four  years  before  the  battle  of  Bar- 
net  was  fought.  Battle  of  Barnet  established  Edward  the  Fourth 
upon  his  throne.  It  was  a  great  battle.  At  the  same  time  William 
Caxton  was  at  Westminster.  He  was  setting  up  his  printing  press 
there. 

Exercise  53. —  The  tea  was  poured  into  cups.  Brilliant  porce- 
lain. The  napkins  fringed  with  gold.  Tea  presented  to  the  ladies 
by  slaves.  Slaves  were  Turks.  Presented  on  their  knees.  Ladies 
sat  on  cushions.     On  the  ground. 

Exercise  54. —  The  floor  was  covered  with  vast  sums  of  gold. 
It  rose  on  either  side  of  her.  In  pyramids.  1  wondered  at  the 
amount.  Inquired.  There  was  virtue  in  her  touch.  The  same 
virtue  which  the  poets  say  a  Lydian  king  possessed.  Could  convert 
what  she  pleased  into  that  precious  metal. 

Exercise  55. —  The  goddess  of  Falsehood  was  of  a  gigantic  stat- 
ure. She  advanced  before  the  front  of  her  army.  Some  paces. 
Light  began  to  dawn  upon  her.     It  came  from  Truth.     It  was  daz- 


PRINCIPLES   OF    EXPRESSION.  79 

zling.  Falsehood  began  insensibly  lo  facie.  She  looked  like  a  huge 
phantom.  Not  like  a  real  substance.  Goddess  of  Truth  ap- 
proached. Game  still  nearer,  falsehood  fell  away  entirely.  Van- 
ished amid  the  brightnesi  <>!'  her  prosenoai  At  the  rising  of  the 
sun  constellations  grow  dim.  Stars  go  out  one  after  another. 
Whole  hemisphere  of  stars  is  extinguished.  So  the  goddess  of 
Falsehood  vanished.     So  her  whole  anny  vanished. 

Exercise  56.— At  last  the  coach  stopped.  The  driver  opened 
the  door.  He  told  us  to  get  out.  We  did  so.  We  found  ourselves 
in  front  of  a  large  tavern.  Its  bright  and  ruddy  windows  told  «>f 
the  biasing  fires  within.  These  fires  soon  made  us  forget  the  hard- 
ships of  the  long,  cold  ride.  The  welcome  of  the  hostess  soon  made 
us  forget  the  hardships  of  the  long,  cold  ride.  The  bounteous  sup- 
per that  smoked  ui>on  the  board  soon  made  us  forget  the  hardships 
of  the  long,  cold  ride.     (Principle  XV.) 

Exercise  57. —  The  march  of  the  Greeks  was  through  an  uncul- 
tivated country.  The  savage  inhabitants  of  this  country  fared 
hardly.  They  had  no  other  riches  than  a  breed  of  lean  sheep.  The 
flesh  of  the  sheep  was  rank  and  unsavory.  This  was  by  reason  of 
their  continually  feeding  upon  sea-fish.     (Principle  XV.) 

Exercise  58.  — This  great  and  good  man  died  on  the  17th  of 
September,  1683.  He  left  behind  him  the  memory  of  many  noble 
actions.  He  left  a  numerous  family.  Three  of  them  were  sons. 
George  was  the  eldest,  lie  was  the  heir  to  his  father's  virtues.  He 
was  also  heir  to  his  father's  principal  estates  in  Cumberland.  It 
was  there  that  most  of  his  father's  property  was  situated.  He  was 
shortly  after  elected  nieml>er  for  the  county.  This  county  had  for 
several  generations  returned   this  family  to  serve  in  Parliament. 

(Principle  XV.) 

Exercise  59. —  A  white  chariot  was  now  approaching.  It  was 
in  an  open  space  behind  the  constable.  It  was  drawn  by  two  white 
palfreys.  Palfreys  covered  with  white  damask.  Damask  swept  the 
ground.  Above  the  chariot  was  borne  a  golden  canopy.  It  made 
music  with  silver  bells.  In  the  chariot  sat  the  observed  of  all 
observers.  She  was  Queen  of  England.  Queen  at  last.  She  was 
Fortune's  plaything  of  the  hour.     The  beautiful  occasion  of  all  this 


80  THE   ELEMENTS   OF   ENGLISH    COMPOSITION. 

glittering  homage.  She  was  borne  along  upon  the  waves  of  this  sea 
of  glory.  She  breathed  the  perfumed  incense  of  greatness.  She 
had  risked  her  honor,  her  self-respect,  to  win  this  greatness.  She 
had  won.  There  she  sat.  Dressed  in  white  robes.  Her  fair  hair 
flowed  loose  over  her  shoulders.  A  light  coronet  encircled  her  tem- 
ples. The  coronet  was  of  gold  and  diamonds.  She  seemed  at  that 
hour  the  most  beautiful  of  all  England's  daughters.  She  seemed 
most  favored.     (Principle  III.) 

RULES  FOR  THE   PARAGRAPH. 

1.  Combine  into  one  paragraph  all  the  sentences  that 
pertain  to  one  distinct  topic. 

2.  If  a  paragraph  is  very  long,  covering  a  page  or  so, 
it  may  be  divided. 

3.  A  paragraph  should  not  consist  of  a  single  sentence, 
unless  the  one  sentence  exhausts  the  discussion  of  the 
topic.     Very  short  paragraphs  do  not  look  well. 

4.  It  is  not  well  to  begin  a  paragraph  with  a  long  sen- 
tence. 

5.  The  transitions  from  one  paragraph  to  another 
should  not  be  abrupt. 

6.  Each  new  paragraph  should  begin  on  a  new  line,  and 
about  an  inch  to  the  right  of  the  margin.  On  paper  the 
width  of  foolscap,  the  margin  should  be  about  an  inch  in 
width;  each  paragraph  would  therefore  begin  two  inches 
or  so  from  the  edge  of  the  paper.  If  the  paper  used  is 
narrower  than  foolscap,  both  margin  and  indentation  for 
paragraph  should  be  proportionally  less. 

See  how  many  of  the  remaining  exercises  should  be 
divided  into  two  or  more  paragraphs. 


PRINCIPLES   OF   EXPRESSION.  81 

Exercise  60. —  Negotiations  were  opened  with  the  chieftains. 
They  were  called  chieftains.  They  governed  the  neighboring 
tribes.  Cupidity,  jealousy,  and  pride  were  found  among  these  sav- 
age rulers.  Their  cupidity  was  insatiable.  Their  jealousy  watchful. 
Their  pride  punctilious.  As  much  so  as  among  the  potentates  whose 
disputes  had  seemed  likely  to  make  the  Congress  of  liyswick  eter- 
nal. One  prince  hated  the  Spaniards.  The  reason  was  that  a  fine 
rifle  had  been  taken  away  from  him  by  the  Governor  of  Porto  Bello. 
It  had  been  taken  on  the  plea  that  sucto  a  rifle  was  too  good  for  a 
red  man.  Another  loved  the  Spaniards.  The  reason  was  that  they 
had  given  him  a  stick  tipped  with  silver.  On  the  whole  the  new- 
comers succeeded  in  making  friends  of  the  aboriginal  race.  One 
monarch  wore  a  cap  of  white  reeds.  It  was  adorned  with  an  ostrich 
feather.  It  was  lined  with  red  silk.  He  wore  it  with  pride.  Pie 
was  mighty.  He  was  the  Louis  the  Great  of  the  isthmus.  He 
seemed  well  inclined  to  the  strangers.  Received  them  hospitably  in 
a  palace.  Palace  built  of  canes.  Covered  with  palmetto  royal.  He 
regaled  them  with  calabashes  of  a  sort  of  ale.  The  ale  was  brewed 
from  Indian  corn  and  potatoes. 

Exercise  61. —  The  Roman  Emperor  marched  over  a  sandy  des- 
ert. It  lies  between  Emesa  and  Palmyra.  He  was  perpetually 
harassed  by  the  Arabs.  The  Arabs  were  robbers.  They  were  active 
and  daring.  He  could  not  always  defend  his  army.  Especially  his 
baggage.  The  Arabs  came  in  flying  troops.  They  watched  the 
moment  of  surprise.  They  eluded  the  slow  pursuit  of  the  Roman 
legions.  The  siege  of  Palmyra  was  an  object  more  difficult  and 
important.  Emperor  pressed  the  attacks  in  person.  With  incessant 
vigor.  Was  himself  wounded  with  a  dart.  The  firmness  of  Zenobia 
was  supported  by  hope.  Zenobia  was  Queen  of  Palmyra.  She 
thought  that  famine  would  compel  the  Romans  to  repass  the  desert. 
That  the  kings  of  the  East  would  arm  themselves  in  her  defence. 
Particularly  the  Persian  monarch.  This  was  reasonable.  The  Per- 
sian monarch  was  her  most  natural  ally.  Perseverance  of  the 
Emperor  Aurelian  overcame  every  obstacle.  He  was  aided  by  for- 
tune. The  Persian  councils  had  become  dish  acted.  This  distrac- 
tion caused  by  the  death  of  Sapor,  the  Persian  general.  Persians 
sent  inconsiderable  succors.     Attempted  to  relieve  Palmyra.     Em- 


82  THE   ELEMENTS   OF   ENGLISH   COMPOSITION. 

peror  easily  intercepted  them.  Zenobia  resolved  to  fly.  She  mounted 
the  fleetest  of  her  dromedaries.  Reached  the  banks  of  the  Euphra- 
tes. Euphrates  is  sixty  miles  from  Palmyra.  Emperor's  light  horse 
pursued.  Overtook  her.  Seized  her.  Brought  her  captive  to  the 
feet  of  the  Emperor.  Palmyra  surrendered.  It  was  treated  by  the 
Emperor  with  unexpected  lenity.    (Principle  XV.) 

Exercise  62.—  His  Majesty,  King  William,  landed  at  Margate. 
This  was  known  on  the  fourteenth  of  November.  There  had  been 
some  days  of  impatient  expectation.  He  landed  at  Greenwich  late 
on  the  fifteenth.  He  rested  in  the  palace  there.  It  was  a  stately 
building.  Under  his  auspices  it  was  turning  from  a  palace  into  a 
hospital.  Eighty-six  coaches  came  next  morning  to  swell  his  train. 
It  was  a  bright  and  soft  morning.  The  coaches  were  filled  with 
nobles,  prelates,  privy  councillors,  and  judges.  He  was  met  by  the 
Lord  Mayor  and  the  Aldermen.  This  was  at  Southwark.  They 
were  in  all  the  pomp  of  office.  The  windows  were  gay  with  tapes- 
try, ribands,  and  flags.  This  was  so  along  the  whole  route.  The 
finest  part  of  the  show  was  the  crowd  of  spectators.  They  were 
innumerable.  They  were  all  in  their  Sunday  clothing.  Only  the 
upper  classes  of  other  countries  could  afford  to  wear  such  clothing. 
The  King  said  he  had  never  seen  such  a  multitude  of  well  dressed 
people.  The  King  was  greeted  by  indications  of  joy  and  affection. 
They  lasted  from  the  beginning  to  the  end  of  his  triumph.  He 
entered  his  coach  at  Greenwich.  He  alighted  from  it  in  the  court 
of  Whitehall.  He  was  accompanied  from  the  first  moment  by  one 
long  huzza. 


PRINCIPLES   OF   EXPRESSION.  83 

EXERCISES  IN  COMPOSITION. 
REPRODUCTION  VII. 

THE  SINGING  LEAVES. 

A   BALLAD. 
I. 

"What  fairings  will  ye  that  I  bring?" 

Said  the  King  to  his  daughters  three; 
"For  1  to  Vanity  Fair  am  boun; 

Now  say  what  shall  it  be  ?  " 

Then  up  and  spake  the  eldest  daughter, 

That  lady  tall  and  grand : 
"  O.  bring  me  pearls  and  diamonds  great, 

And  gold  rings  for  my  hand." 

Thereafter  spake  the  second  daughter, 

That  was  both  white  and  red : 
"  For  me  bring  silks  that  will  stand  alone, 

And  a  gold  comb  for  my  head." 

Then  came  the  turn  of  the  least  daughter 

That  was  whiter  than  thistle-down, 
And  among  the  gold  of  her  blithesome  hair 

Dim  shone  the  golden  crown. 

"  There  came  a  bird  this  morning 

And  sang  'neath  my  bower-eaves, 
Till  I  dreamed,  as  his  music  made  me, 

'Ask  thou  for  the  singing  leaves.'  " 

Then  the  brow  of  the  King  swelled  crimson 

With  a  flush  of  angry  scorn: 
"Well  have  ye  spoken,  my  two  eldest, 

And  chosen  as  ye  were  born ; 


84  THE   ELEMENTS   OF   ENGLISH   COMPOSITION. 

"  But  she,  like  a  thing  of  peasant  race, 
That  is  happy  binding  the  sheaves"; 

Then  he  saw  her  dead  mother  in  her  face, 
And  said,  "Thou  shalt  have  thy  leaves." 

II. 

He  mounted  and  rode  three  days  and  nights 

Till  he  came  to  Vanity  Fair, 
And  'twas  easy  to  buy  the  gems  and  the  silk, 

But  no  singing  leaves  were  there. 

Then  deep  in  the  green  wood  rode  he 

And  asked  of  every  tree, 
"0,  if  you  have  ever  a  singing  leaf, 

I  pray  you  to  give  it  me !  " 

But  the  trees  all  kept  their  counsel, 

And  never  a  word  said  they, 
Only  there  sighed  from  the  pine-tops 

A  music  of  sea  far  away. ' 

Only  the  pattering  aspen 

Made  a  sound  of  growing  rain, 

That  fell  ever  faster  and  faster, 
Then  faltered  to  silence  again. 

"  0,  where  shall  I  find  a  little  foot-page 
That  would  win  both  hose  and  shoon, 

And  will  bring  to  me  the  singing  leaves 
If  they  grow  under  the  moon?" 

Then  lightly  turned  him  Walter  the  page, 

By  the  stirrup  as  he  ran : 
"  Now  pledge  ye  me  the  truesome  word 

Of  a  king  and  gentleman, 

"  That  you  will  give  me  the  first,  first  thing 

You  meet  at  the  castle  gate, 
And  the  princess  shall  get  the  singing  leaves, 

Or  mine  be  a  traitor's  fate." 


PRINCIPLES  OF   EXPRESSION.  85 

Tito  King's  bead  dropped  upon  his  breast 

A  moment,  as  it  might  be; 
"Twill  be  my  dog,"  lie  thought,  and  said, 

"  My  faith  I  plight  to  thee." 

Then  Walter  took  from  next  his  heart 

A  packet  small  and  thin, 
"Now  give  you  this  to  the  Princess  Anne, 

The  singing  leaves  are  therein." 

III. 

As  the  King  rode  in  at  his  castle  gate, 

A  maiden  to  meet  him  ran, 
And  "  Welcome,  father  ! "  she  laughed  and  cried 

Together,  the  Princess  Anne. 

"Lo,  here  the  singing  leaves,"  quoth  he, 

"And  woe,  but  they  cost  me  dear  I" 
She  took  the  packet,  and  the  smile 

Deepened  down  beneath  the  tear. 

It  deepened  down  till  it  reached  her  heart, 

And  then  gushed  up  again, 
And  lighted  her  tears  as  the  sudden  sun 

Transfigures  the  summer  rain. 

And  the  first  leaf,  when  it  was  opened, 

Sang:  "  I  am  Walter  the  page, 
And  the  songs  I  sing  'neath  thy  window 

Are  my  only  heritage." 

And  the  second  leaf  sang:  "  But  in  the  land 

That  is  neither  on  earth  or  sea, 
My  lute  and  I  are  lords  of  more 

Than  thrice  this  kingdom's  fee." 

And  the  third  leaf  sang:  "Be  mine  !  be  mine  !" 

And  ever  it  sang,  "  Be  mine  !  " 
Then  sweeter  it  sang  and  ever  sweeter, 

And  said,  "I  am  thine,  thine,  thine. 


86  THE   ELEMENTS   OF   ENGLISH   COMPOSITION. 

At  the  first  leaf  she  grew  pale  enough, 

At  the  second  she  turned  aside, 
At  the  third,  'twas  as  if  a  lily  flushed 

With  a  rose's  red  heart's  tide. 

"Good  counsel  gave  the  bird,"  said  she, 

"  I  have  my  hope  thrice  o  er, 
For  they  sing  to  my  very  heart,"  she  said, 

"And  it  sings  to  them  evermore." 

She  brought  to  him  her  beauty  and  truth, 

But  and  broad  earldoms  three, 
And  he  made  her  queen  of  the  broader  lands 

He  held  of  his  lute  in  fee. 

James  Russell  Lowell. 


DEVELOPMENT  V. 

TWO  KITTIES. 

Two  little  kitties 

Wandered  away 
Into  the  prairie 

One  summer  day. 
One  on  two  feet, 

Rosy  and  fair, 
Almost  a  baby, — 

"Golden  Hair." 

Four  feet, —  useless, 

Eyes  fast  closed, 
Borne  in  a  basket, 

The  other  dozed. 
Searching  in  terror 

Far  and  wide, 
"Golden  Hair's"  mother 

Moaned  and  cried. 


PRINCIPLES   OF   EXPRESSION.  87 

Mother  Puss  calmly 

Following  slow, 
Listening, — calling 

Meoh  ! — Meoh  !  — 
Mother  Puss  found  them, 

A  little  heap, 
Down  in  the  deep  grass, 

Fast  asleep. 

Joy  Allison,  in  "St.  Nicholas." 

How  did  it  happen  that  little  "Golden  Hair"  wandered 
away  from  home?  What  was  she  seeking?  What  did 
she  say  to  herself  on  the  way?  Was  she  afraid  out  on 
the  prairie?  Describe  the  mother's  discovery  of  the 
child's  absence.  Describe  the  search.  Picture  as  vividly 
as  you  can  the  finding  of  the  sleeping  child. 

DEVELOPMENT  VI. 

THE  BABY   BIRD.* 

Poor  little  baby-bird 

Has  fallen  from  a  tree, 
And  down  in  the  long  grass 

Is  crying  "Chee!  Chee!" 
Silly  little  baby-bird  ! 

Oh,  what  made  you  try 
To  follow  after  mamma 

Before  you  could  fly? 
Stupid  little  baby-bird 

All  dripping  with  the  rain, 
Now  go  to  your  nest  and  wait 

Until  mamma  comes  again. 

*  Prom  "  Large  Print  for  Little  Readers."    Boston :  D.  Lothrop  &  Co. 


88  THE   ELEMENTS   OF  ENGLISH   COMPOSITION. 

Perhaps  it  is  a  child  talking  to  the  bird.  He  may  have 
found  it  in  the  grass,  and  may  be  trying  to  put  it  back  in 
the  nest. 


REPRODUCTION  VIII. 

PROSE  READINGS. 

REPRODUCTION"  IX. 

JOHN  GILPIN. 

John  Gilpin  was  a  citizen  of  credit  and  renown ; 

A  train-band  captain  eke  was  he  of  famous  London  town. 

John  Gilpin's  spouse  said  to  her  dear,  "Though  married  we  have 

been 
These  twice  ten  tedious  years,  yet  we  no  holiday  have  seen. 

"  To-morrow  is  our  wedding-day,  and  we  will  then  repair 
Unto  the  Bell  at  Edmonton,  all  in  a  chaise  and  pair. 
My  sister  and  my  sister's  child,  myself  and  children  three, 
Will  fill  the  chaise;  so  you  must  ride  on  horseback  after  we." 

He  soon  replied,  "I  do  admire  of  womankind  but  one, 
And  you  are  she,  my  dearest  dear,  therefore  it  shall  be  done. 
I  am  a  linen-draper  bold,  as  all  the  world  doth  know; 
And  my  good  friend  the  calender  will  lend  his  horse  to  go." 

Quoth  Mrs.  Gilpin,  "That's  well  said;  and,  for  that  wine  is  dear, 
We  will  be  furnished  with  our  own,  which  is  both  bright  and  clear." 
John  Gilpin  kissed  his  loving  wife;  o'erjoyed  was  he  to  find 
That  though  on  pleasure  she  was  bent,  she  had  a  frugal  mind. 

The  morning  came,  the  chaise  was  brought,  but  yet  was  not  allowed 
To  drive  up  to  the  door,  lest  all  should  say  that  she  was  proud. 
80  three  doors  off  the  chaise  was  stayed,  where  they  did  all  get  in,— 
Six  precious  souls, —  and  all  agog  to  dash  through  thick  and  thin  I 


PRINCIPLES   OP  EXPRESSION.  89 

Smack  went  the  whip,  round  went  the  wheels;  were  never  folks  so 

glad ; 
The  stones  did  rattle  underneath,  as  if  Cheapside  were  mad. 
John  Gilpin  at  his  horse's  side  seized  fast  the  flowing  mane, 
And  up  he  got,  in  haste  to  ride,  but  soon  came  down  again. 

For  saddle-tree  scarce  reached  had  he,  his  journey  to  begin, 
When  turning  round  his  head,  he  saw  three  customers  come  in. 
So  down  he  came;  for  loss  of  time,  although  it  grieved  him  sore, 
Yet  loss  of  pence,  full  well  he  knew,  would  trouble  him  much  more. 

Twas  long  before  the  customers  were  suited  to  their  mind, 
Win  n  Betty  screaming  came  down  stairs,  "  The  wine  is  left  behind ! " 
"Good  lack!"  quoth  he;  "yet  bring  it  me,  my  leathern  belt  like- 
wise, 
In  which  I  bear  my  trusty  sword,  when  I  do  exercise." 

Now  Mrs.  Gilpin  (careful  soul!)  had  two  stone  bottles  found, 
To  hold  the  liquor  that  she  loved,  and  keep  it  safe  and  sound. 
Each  bottle  had  a  curling  ear,  through  which  the  belt  he  drew, 
And  hung  a  bottle  on  each  side,  to  make  his  balance  true. 

Then  over  all,  that  he  might  be  equipped  from  top  to  toe, 

His  long  red  cloak,  well  brushed  and  neat,  he  manfully  did  throw. 

Now  see  him  mounted  once  again  upon  his  nimble  steed, 

Full  slowly  pacing  o'er  the  stones  with  caution  and  good  heed. 

I »ut  finding  soon  a  smoother  road  beneath  his  well  shod  feet, 
The  snorting  beast  began  to  trot,  which  galled  him  in  his  seat. 
So,  "  Fair!  and  softly! "  John  he  cried;  but  John  he  cried  in  vain; 
The  trot  became  a  gallop  soon,  in  spite  of  curb  and  rein. 

So,  stooping  down,  as  needs  he  must,  who  cannot  sit  upright, 

He  grasped  the  mane  with  both  his  hands,  and  eke  with  all   his 

might. 
His  horse,  who  never  in  that  sort  had  handled  been  before, 
What  thing  upon  his  back  had  got  did  wonder  more  and  more. 


90  THE   ELEMENTS   OF   ENGLISH   COMPOSITION. 

Away  went  Gilpin,  neck  or  naught;  away  went  hat  and  wig; 
He  little  dreamed  when  he  set  out,  of  running  such  a  rig. 
The  wind  did  blow,  the  cloak  did  fly,  like  streamer  long  and  gay, 
Till,  loop  and  button  failing  both,  at  last  it  flew  away. 

Then  might  all  people  well  discern  the  bottles  he  had  slung; 

A  bottle  swinging  at  each  side,  as  hath  been  said  or  sung. 

The  dogs  did  bark,  the  children  screamed,  up  flew  the  windows  all, 

And  every  soul  cried  out,  "  Well  done!  "  as  loud  as  he  could  bawl. 

Away  went  Gilpin,  who  but  he!  his  fame  soon  spread  around; 
"  He  carries  weight !     He  rides  a  race !     'Tis  for  a  thousand  poun^l " 
And  still,  as  fast  as  he  drew  near,  'twas  wonderful  to  view 
How  in  a  trice  the  turnpike  men  their  gates  wide  open  threw. 

And  now,  as  he  went  bowing  down  his  reeking  head  full  low, 
The  bottles  twain,  behind  his  back,  were  shattered  at  a  blow. 
Down  ran  the  wine  into  the  road,  most  piteous  to  be  seen, 
Which  made  his  horse's  flanks  to  smoke,  as  they  had  basted  been- 

But  still  he  seemed  to  carry  weight,  with  leather  girdle  braced ; 
For  all  might  see  the  bottle-necks  still  dangling  at  his  waist. 
Thus  all  through  merry  Islington  these  gambols  he  did  play, 
And  till  he  came  unto  the  Wash  of  Edmonton  so  gay. 

And  there  he  threw  the  Wash  about  on  both  sides  of  the  way, 
Just  like  unto  a  trundling-mop,  or  a  wild  goose  at  play. 
At  Edmonton  his  loving  wife,  from  the  balcony,  spied 
Her  tender  husband,  wondering  much  to  see  how  he  did  ride. 

"  Stop,  stop,  John  Gilpin !  here's  the  house ! "  they  all  at  once  did  cry ; 
"The  dinner  waits,  and  we  are  tired!  "  Said  Gilpin,  "so  ami!" 
But  yet  his  horse  was  not  a  whit  inclined  to  tarry  there ; 
For  why?  his  owner  had  a  house,  full  ten  miles  off,  at  Ware. 

So  like  an  arrow  swift  he  flew,  shot  by  an  archer  strong, 
So  did  he  fly  —  which  brings  me  to  the  middle  of  my  song. 
Away  went  Gilpin,  out  of  breath,  and  sore  against  his  will, 
Till  at  his  friend  the  calender's  his  horse  at  last  stood  still. 


PRINCIPLES   OF   EXPRESSION.  91 

The  calender,  amazed  to  see  his  friend  in  such  a  trim, 

Laid  down  his  pipe,  flew  to  the  gate,  and  thus  accosted  him: 

"What  news?  What  news?  Your  tidings  tell!   Tell  me  you  must 

and  shalll 
Say  why  bare-headed  you  are  come,  or  why  you  come  at  all! " 

Now  Gilpin  had  a  pleasant  wit,  and  loved  a  timely  joke; 

And  tints  unlo  the  calender,  in  merry  guise  he  spoke: 

"  I  i  Mini'  because  your  horse  would  come;  and,  if  I  well  forebode, 

My  hat  and  wig  will  soon  be  here;  they  are  upon  the  road!  " 

The  calender,  right  glad  to  find  his  friend  in  merry  pin,  • 
Returned  him  not  a  single  word,  but  to  the  house  went  in ; 
Whence  straight  he  came  with  hat  and  wig, —  a  wig  that  flowed 

behind, 
A  hat  not  much  the  worse  for  wear, — each  comely  in  its  kind. 

He  held  them  up,  and  in  his  turn  thus  showed  his  ready  wit, — 
"  My  head  is  twice  as  big  as  yours;  they,  therefore,  needs  must  fit. 
But  let  me  scrape  the  dirt  away  that  hangs  upon  your  face; 
And  stop  and  eat,  for  well  you  may  be  in  a  hungry  case." 

Said  John,  "  It  is'my  wedding  day,  and  all  the  world  would  stare 
If  wife  should  dine  at  Edmonton  and  I  should  dine  at  Ware." 
So,  turning  to  his  horse  he  said,  "  I  am  in  haste  to  dine: 
'Twas  for  your  pleasure  you  came  here;  you  shall  go  back  for 
mine." 

Ah,  luckless  speech  and  bootless  boast!  for  which  he  paid  full  dear; 
For,  while  he  spake,  a  braying  ass  did  sing  most  loud  and  clear; 
Whereat  his  horse  did  snort  as  he  had  heard  a  lion  roar, 
And  galloped  off  with  all  his  might,  as  he  had  done  before. 

Away  went  Gilpin,  and  away  went  Gilpin's  hat  and  wig: 
He  lost  them  sooner  than  the  first;— for  why? — they  were  too  big. 
Now  Mistress  Gilpin,  when  she  saw  her  husband  posting  down 
Into  the  country  far  away,  she  pulled  out  half  a  crown ; 


92  THE   ELEMENTS   OF   ENGLISH   COMPOSITION. 

And  thus  unto  the  youth  she  said,  that  drove  them  to  the  Bell, 
"This  shall  be  yours,  when  you  bring  back  my  husband  safe  and 

well." 
The  youth  did  ride,  and  soon  did  meet  John  coming  back  amain, 
Whom  in  a  trice  he  tried  to  stop,  by  catching  at  his  rein ; 

But  not  performing  what  he  meant,  and  gladly  would  have  done, 
The  frightened  steed  he  frighted  more,  and  made  him  faster  run. 
Away  went  Gilpin,  and  away  went  postboy  at  his  heels; 
The  postboy's  horse  right  glad  to  miss  the  lumbering  of  the  wheels. 

Six  gentlemen  upon  the  road,  thus  seeing  Gilpin  fly, 

With  postboy  scampering  in  the  rear,  they  raised  the  hue  and  cry: 

"Stop  thief  I   stop  thief  I  —  a  highwayman  1" — not  one  of  them  was 

mute, 
And  all  and  each  that  passed  that  way  did  join  in  the  pursuit. 

And  now  the  turnpike  gates  again  flew  open  in  short  space, 
The  tollmen  thinking,  as  before,  that  Gilpin  rode  a  race. 
And  so  he  did,  and  won  it  too,  for  he  got  first  to  town, 
Nor  stopped  till  where  he  had  got  up  he  did  again  get  down. 

Now  let  us  sing  "  long  live  the  king,"  and  Gilpin,  long  live  Iig, 
And  when  he  next  doth  ride  abroad  may  I  be  there  to  see. 

William  Cowper. 


DEVELOPMENT  VII. 

THE  TRAGICAL  FATE  OP  JACK  AND  JILL. 

Jack  and  Jill  went  up  the  hill 

To  draw  a  pail  of  water ; 
Jack  fell  down  and  broke  his  crown, 

And  Jill  came  tumbling  after. 


PRINCIPLES   OF   EXPRESSION. 

DEVELOPMENT  VIII. 

LITTLE  JACK'S  CHRISTMAS  DINNER. 

Little  Jack  Horner  sat  in  the  corner, 

Kating  his  Christmas  pie ; 
He  put  in  his  thumb  and  pulled  out  a  plum, 

And  said,  "  O,  what  a  brave  boy  am  I! " 

REPRODUCTION  X. 

THE  BUTTERB^LY  AND  THE  SNAIL. 

All  upstarts,  insolent  in  place, 
Remind  us  of  their  vulgar  race. 
As,  in  the  sunshine  of  the  morn, 
A  Butterfly, but  newly  born, 
Sat  proudly  perking  on  a  rose, 
With  pert  conceit  his  bosom  glows; 
His  wings,  all  glorious  to  behold, 
Bedropped  with  azure,  jet,  and  gold, 
Wide  he  displays  ;  the  spangled  dew 
Reflects  his  eyes  and  various  hue. 
His  now  forgotten  friend,  a  Snail, 
Beneath  his  house,  with  slimy  trail, 
Crawls  o'er  the  grass  ;  whom  when  he  spies, 
In  wrath  he  to  the  gardener  cries: 
"What  means  yon  peasant's  daily  toil, 
From  choking  weeds  to  rid  the  soil? 
Why  wake  you  to  the  morning's  care? 
Why  with  new  arts  correct  the  year?    ■ 
Why  grows  the  peach  with  crimson  hue, 
And  why  the  plum's  inviting  blue? 
Were  they  to  feast  his  taste  designed, 
That  vermin  of  voracious  kind? 
Crush  then  the  slow,  the  pilfering  race ; 


94  THE   ELEMENTS   OF   ENGLISH   COMPOSITION. 

So  purge  thy  garden  from  disgrace." 

"  What  arrogance  ! "  the  Snail  replied; 

u  How  insolent  is  upstart  pride! 

Hadst  thou  not  thus,  with  insult  vain, 

Provoked  my  patience  to  complain, 

I  had  concealed  thy  meaner  birth, 

Nor  traced  thee  to  the  scum  of  earth. 

For  scarce  nine  suns  have  waked  the  hours, 

To  swell  the  fruit  and  paint  the  flowers, 

Since  I  thy  humbler  life  surveyed, 

In  base  and  sordid  guise  arrayed; 

A  hideous  insect,  vile,  unclean, 

You  dragged  a  slow  and  noisome  train ; 

And  from  your  spider  bowels  drew 

Foul  film,  and  spun  the  dirty  clue. 

I  own  my  humble  life,  good  friend ; 

Snail  I  was  born,  and  Snail  shall  end. 

And  what's  a  Butterfly?    At  best 

He's  but  a  caterpillar,  dressed ; 

And  all  thy  race  (a  numerous  seed) 

Shall  prove  of  caterpillar  breed." 

John  Gay. 


DEVELOPMENT  IX. 

THE  MOUSE  AND  THE  ELEPHANT. 
Topical  Outline. 
Introduction.—  ( ) 

1.  The  Mouse  meets  the  Elephant. 

2.  Ridicules  his  size  and  slow  movements. 

3.  Boasts  of  her  own  agility. 
„  4.  Is  suddenly  seized  by  a  cat. 

Conclusion.—   The  Elephant  moralizes. 


Discussion. 


PRINCIPLES   OF   EXPRESSION.  95 

DEVELOPMENT  X. 

WILL  OTHE  WISP. 

"Will  o'the  wisp,  Will  o'the  wisp, 
Show  me  your  lantern  true! 
Orel  tlif  meadow  and  over  the  hill, 
tiladly  I'll  follow  you. 

"Never  I'll  murmur,  nor  ask  for  rest, 
And  ever  I'll  be  your  friend, 
If  you'll  only  give  me  the  pot  of  gold 
That  lies  at  your  journey's  end." 

And  after  the  light  went  the  brave  little  boy, 

Trudging  along  so  bold; 
And  thinking  of  all  the  things  he'd  buy 

With  the  wonderful  pot  of  gold : 

"A  house,  and  a  horse,  and  a  full-rigged  ship, 
And  a  ton  of  peppermint  drops, 
And  all  the  marbles  there  are  in  the  world, 
And  all  the  new  kinds  of  tops." 

Will  o'the  wisp,  Will  o'the  wisp, 

Flew  down  at  last  in  a  swamp. 
He  put  out  his  lantern  and  vanished  away 

In  the  evening  chill  and  damp. 

And  the  poor  little  boy  went  shivering  home, 

Wet  and  tired  and  cold. 
He  had  come,  alas  !  to  his  journey's  end, 

But  where  was  the  pot  of  gold? 

Laura  E.  Richards,  in  "St.  Nicholas." 


96  THE  ELEMENTS  OF  ENGLISH  COMPOSITION. 

DEVELOPMENT  XI. 

THE  WHITE  LILY. 

Little  white  Lily- 
Sat  by  a  stone, 

Drooping  and  waiting 
Till  the  sun  shone. 

Little  white  Lily 
Sunshine  has  fed; 

Little  white  Lily 
Is  lifting  her  head. 

Little  white  Lily 

Said,  "It  is  good; 
Little  white  Lily's 

Clothing  and  food." 
Little  white  Jjily 

Drest  like  a  bride, 
Shining  with  whiteness 

And  crowned  beside. 

Little  white  Lily 

Droopcth  with  pain, 
Watching  and  waiting 

For  the  wet  rain. 
Little  white  Lily 

Holdeth  her  cup, 
Rain  is  fast  falling 

And  filling  it  up. 

Little  white  Lily 

Saith,  "Good  again, 
When  I  am  thirsty 

To  have  nice  rain ; 
Now  I  am  stronger, 

Now  I  am  cool, 
Heat  cannot  burn  me 

My  veins  are  so  full." 


PRINCIPLES   OF   EXPRESSION.  97 

Little  white  Lily 

Smells  very  sweet, 
On  her  head  sunshine, 

Rain  at  her  feet. 
"Thanks  to  the  sunshine, 

Thanks  to  the  rain, 
Little  white  Lily 

Is  happy  again." 

George  Macdonald. 


SUBJECTS   FOR   STORY. 

In  this  exercise  your  entire  work,  even  the  plot,  is  to 
be  original.  You  have  neither  a  poem  nor  an  outline  of 
topics  given  to  assist  you.  Select  from  the  following 
subjects. 

Miss  Frog's  Party. 

The  Bee  and  the  Flower. 

The  Church  Mouse. 

Playing  School. 

Flying  Kites. 

The  Violet  and  the  Rosebush. 

The  Turtle-dove  and  the  Bluejay. 

Pussy's  Education. 

The  Musical  Education  of  the  Frog  Children. 

Complaint  of  the  Town  Pump. 

A  Looking-glass's  Opinion  of  the  World. 

7 


CHAPTER  IV. 


PRINCIPLES  OF  EXPRESSION. 

(continued.) 
PRINCIPLE  XVI.— Interrogation  and  Exclamation. 

Commonly  a  sentence  used  declaratively  has  a  different 
meaning  from  the  same  sentence  used  interrogatively. 
Dr.  Jones  went  to  Boston,  has  a  very  different  meaning 
from,  Did  Dr.  Jones  go  to  Boston?  In  the  interroga- 
tive sentence,  the  questioner  does  not  know  whether  or 
not  Dr.  Jones  went  to  Boston,  and  wishes  to  learn.  But 
the  question  is  not  always  for  the  purpose  of  obtaining 
information.  If  you  ask,  Does  God  pervert  justice? 
the  question  is  not  put  for  the  sake  of  an  answer.  You 
know  what  would  be  the  answer.  It  is  merely  an  em- 
phatic way  of  saying  God  does  not  pervert  justice. 
There  are  many  such  cases,  when  the  interrogation  is 
merely  an  emphatic  way  of  making  a  statement. 

Compare  the  following  interrogative  sentences  with  the 
same  expressed  declaratively;  and  see  how  much  more  em- 
phatic the  interrogative  forms  are: — 


1.  Who  can  declare  the  mighty 
acts  of  the  Lord? 

2.  He  that  planted    the  ear, 
shall  He  not  hear? 

3.  Can  a  mother  forget  her 
child? 


1.  No  one   can    declare    the 
mighty  acts  of  the  Lord. 

2.  He  that   planted    the  ear 
must  surely  be  able  to  hear. 

3.  A  mother  cannot  possibly 
forget  her  child. 


PRINCIPLES   OF    EXPRESSION.  •  '99' 

Compare  also  the  exclamatory  with  the  declarative  form 
in  the  following  examples,  and  see  how  much  more 
vigorous  the  exclamatory  form  is: — 

1.  They  made  a  wild  eharge. 

2.  There  are  here  many  goodly 
creatures. 

3.  I  love  thy  law. 


1.  What  a  wild  charge  they 
made! 

2.  How    many    goodly    crea- 
tures are  there  here! 

3.  O  how  I  love  thy  law! 


Notice  also  that  in  these  forms  the  emphasis  is  often 
increased  by  omission  of  words:  as  — 

Mercy  upon  tis!  is  more  forcible  than  May  they  have  mercy  upon 
us!  Monstrous!  monstrous!  is  more  forcible  than  It  is  monstrous! 
it  is  monstrous! 

Principle. — Where  an  emphatic  expression  of  a 
thought  is  desired,  prefer  the  exclamatory  or  interroga- 
tive form  to  the  declarative.  The  use  of  these  forms  for 
emphasis  must  not,  however,  be  too  frequent,  but  merely 
the  exception  to  the  general  use  of  the  declarative. 

Exercise  63. —  Change  from  the  interrogative  to 
the  declarative  form.     Note  how  much  is  lost  in  energy. 

1.  When  can  their  glory  fade?  2.  Some  pretty  good  men  were 
boys  once.  Were  you  never  a  boy,  Mr.  Superintendent?  3.  Are 
the  girls  all  angels?  Do  they  never  do  anything  wrong?  Do  girls 
never  make  any  noise  in  school?  Do  girls  never  need  to  be  scolded? 
4.  O  these  women!  these  women!  Could  that  girl  have  been  play- 
ing off  any  of  her  coquettish  tricks?  Was  her  encouragement  of 
the  poor  i>edagogue  all  a  mere  sham  to  secure  the  conquest  of  his 
rival?  Heaven  only  knows,  not  I!  5.  And  for  what  is  all  this 
apparatus  of  bustle  and  terror?  Is  it  because  anything  substantial 
is  expected?  No.  The  stir  and  bustle  itself  is  the  end  proposed. 
6.  And  where  is  he  to  exert  his  talents?  At  home,  to  be  sure,  for 
where  else  can  he  obtain  a  profitable  credit  for  their  exertion? 


100         THE   ELEMENTS  OF   ENGLISH   COMPOSITION. 

7.  Has  the  gentleman  done?  Has  lie  completely  done?  He  was 
unparliamentary  from  the  beginning  to  the  end  of  his  speech. 
There  was  scarce  a  word  he  uttered  that  was  not  a  violation  of  the 
privileges  of  the  House.  But  I  did  not  call  him  to  order, —  why  ? 
because  the  limited  talents  of  some  men  render  it  impossible  for 
them  to  be  severe  without  being  unparliamentary. 

8.  Who  made  you  glorious  as  the  gates  of  Heaven 
Beneath  the  keen,  full  moon?    Who  bade  the  sun 
Clothe  you  with  rainbows?    Who,  with  living  flowers 
Of  loveliest  blue,  spread  garlands  at  your  feet? 

God !  let  the  torrents,  like  a  shout  of  nations, 
Answer!  and  let  the  ice-plains  echo,  God! 

Exercise  64. —  Change  from  the  exclamatory  to  the 
declarative.  Show  how  the  sentence  is  rendered  exclam- 
atory. Note  the  loss  of  energy  in  the  change  from  the 
emotional  to  the  matter-of-fact  form. 

4 
1.  How  sweet  the  moonlight  sleeps  upon  this  bank!    2.  A  horse! 

a  horse  !  my  kingdom  for  a  horse  !    3.  I  have  well  bethought  me  of 

my  duties.     O,  how  extensive  they  are  !  what  a  fair  and  goodly 

inheritance  !    4.  For,  lo  !  the  hills  around,  gay  in  their  early  green, 

give  silent  thanks.     5.  O,  pleasantly  the  harvest-moon   looked  on 

them  through  the  great  elm  boughs  ! 

6.  How  poor,  how  rich,  how  abject,  how  august, 
How  complicate,  how  wonderful  is  man! 
How  passing  wonder  He  who  made  him  such! 

7.  How  the  lit  lake  shines, —  a  phosphoric  sea  — 
And  the  big  rain  comes  dancing  to  the  earth! 

8.  An  heir  of  glory!  a  frail  child  of  dust! 
Helpless  immortal!  insect  infinite! 

A  worm !  a  god !  —  I  tremble  at  myself, 
And  in  myself  am  lost. 

9.  A  boom !  —  the  Lighthouse  gun ! 

(How  its  echo  rolls  and  rolls!) 
'Tis  to  warn  the  home-bound  ships 
Off  the  shoals! 


PRINCIPLES   OF   EXPRESSION".  101 

See!  a  rocket  cleaves  the  sky 

Prom  the  Fort;  — a  shaft  of  light! 

See!  it  fades  and  fading,  leaves 
Golden  furrows  on  the  night! 

Exercise  65. —  Change  from  the  declarative  to  the 
interrogative.     Note  the  gain  in  energy. 

1.  The  Judge  of  all  the  earth  will  do  right.  2.  Thou  hast  not 
given  the  horse  strength;  thou  hast  not  clothed  his  neck  with  thun- 
der. 3.  The  leviathan  will  not  make  many  supplications  unto  thee; 
he  will  not  speak  soft  words  unto  thee;  thou  canst  not  take  him  as 
a  servant  forever;  thou  canst  not  play  with  him  as  with  a  bird.  4. 
We  will  not  submit,  and  consent  that  we  ourselves  shall  be  ground 
to  powder,  and  our  country  and  its  rights  trodden  down  in  the 
dust.  5.  The  traces  of  her  early  cares,  her  sufferings,  and  fatigues, 
were  all  gone.  VC>.  The  hardest  task  in  the  world  is  to  think.  7. 
Cut  off  from  all  hope  of  royal  clemency,  you  are  nothing,  you  can 
be  nothing,  but  outlaws.  8.  These  roarers  (the  waves)  care  nothing 
for  the  name  of  king.  9.  You  cannot  put  your  hand  in  the  fire 
without  being  burned. 

Exercise  66. —  Change  from  the  declarative  to  the 
exclamatory.     Note  the  gain  in  energy. 

1.  They  lash  us  with  their  tongues.  2.  The  scenes  of  my  child- 
hood are  dear  to  my  heart.  4  3.  Their  melody  foretells  a  world  of 
merriment.  4.  The  fears  which  such  a  situation  must  inspire  are 
boundless.  5.  Sighs  have  been  wafted  after  that  ship;  prayers  have 
been  offered  up  at  the  deserted  fireside  of  home.  6.  And  the  star 
which  they  saw  in  the  east,  went  before  them  till  it  came  and  stood 
over  where  the  young  child  was.  7.  These  are  noble  institutions; 
this  is  a  comprehensive  policy;  this  is  a  wise  equalization  of  every 
political  advantage.  8.  Our  hearts  were  beating  when  we  saw  the 
army  of  the  League  drawn  out  in  long  array.  9.  Mar  cried  to  them 
to  put  their  lances  down.  10.  There  never  was  such  a  knight  in 
friendship  or  in  war  as  our  sovereign  lord,  King  Henry  of  Navarre. 
11.  He  commanded  them  to  fix  bayonets  and  charge.     12.  King 


*10fc ;  «  •  -THE   ELEMENTS   OF  ENGLISH   COMPOSITION. 

Robert  who  was  standing  near  the  throne,  lifted  his  eyes,  and  he 
was  alone.  13.  They  cried  to  him  to  come  back  before  the  ruin 
fell. 

PRINCIPLE  XVII.— Direct  and  Indirect  Narration. 

The  direct  form  of  speech  gives  the  thought  of  an- 
other in  his  own  words/  the  indirect  gives  his  thought 
only,  not  his  words:  as  — 

Direct. —  1.  The  crabbed  old  schoolmaster  used  to  ask,  when 
they  brought  him  a  new  pupil,  "But  are  you  sure  he  is  not  a 
dunce?" 

2.  "Do  not  trouble  yourself  too  much  about  the  light  upon  your 
statue,"  said  Michael  Angelo  to  a  young  sculptor,  "  the  light  of 
the  public  square  will  test  its  value." 

Indirect. —  1.  The  crabbed  old  schoolmaster  used  to  ask,  when 
they  brought  him  a  new  pupil,  whether  they  were  sure  he  was  not  a 
dunce. 

2.  Michael  Angelo  told  a  young  sculptor  not  to  trouble  himself 
too  much  about  the  light  on  his  statue,  for  the  light  of  the  public 
square  would  test  its  value. 

Principle. — Where  energetic  expression  of  thought  is 
desired,  prefer  the  direct  form  of  narration  to  the  indi- 
rect. Sometimes,  however,  energy  has  to  be  sacrificed  to 
brevity,  in  which  case  the  indirect  form  must  be  used. 

Exercise  67. —  Re-write,  changing  to  the  indirect 
form.     Note  the  loss  of  energy. 

Remark. —  The  indirect  form  usually  requires  the  use 
of  the  third  person  instead  of  the  first  and  second,  and 
the  past  tense  instead  of  the  present/  it  requires  no  quo- 
tation marks. 

'  1.  Dr.  Johnson  is  reported  to  have  said:  "If  a  boy  says  he 
looked  out  of  this  window,  when  he  looked  out  of  that,  whip  him." 


PRINCIPLES   OF   EXPRESSION.  103 

2.  "My  children,"  said  an  old  man  to  his  boys  who  had  been 
frightened  by  a  figure  in  a  dark  entry,  "my  children,  you  will 
never  see  anything  in  this  world  worse  than  yourselves." 

3.  "For  myself,"  said  Daniel  Webster,  "I  propose  to  abide  by 
the  principles  and  the  purposes  which  I  have  avowed.  I  shall  stand 
by  the  Union,  and  by  all  who  stand  by  it.  I  shall  do  justice  to  the 
whole  country  according  to  the  best  of  my  ability  in  all  I  say,  and 
act  Cor  the  good  of  the  country  in  all  I  do.  I  mean  to  stand  upon 
the  Constitution.  I  need  no  other  platform.  I  shall  know  but  one 
country.  The  ends  I  aim  at  shall  be  my  country's,  my  God's,  and 
Truth's."    (See  Principle  XIV.) 

4.  Wolfe,  also,  as  he  led  to  the  charge,  was  wounded  in  the 
wrist;  but,  still  pressing  forward,  he  received  a  second  ball;  and, 
having  decided  the  day,  was  struck  a  third  time,  and  mortally, 
in  the  breast.  "  Support'  me,"  he  cried  to  an  officer  near  him ;  "  let 
not  my  brave  fellows  see  me  drop."  lie  was  carried  to  the  rear, 
and  they  brought  him  water  to  quench  his  thirst.  "They  runl 
they  run!"  spoke  the  officer  on  whom  he  leaned.  "Who  run?" 
asked  Wolfe,  as  his  life  blood  was  fast  ebbing.  "The  French," 
replied  the  officer,  "give  way  everywhere."  "  What,"  cried  the  ex- 
piring hero,  "do  they  run  already?  Go,  one  of  you,  to  Colonel 
Burton ;  bid  him  march  Webb's  regiment  with  all  speed  to  Charles 
River  to  cut  off  the  fugitives."  Four  days  before  he  had  looked 
on  early  death  with  dismay.  "Now,  God  be  praised,  I  die  happy." 
These  were  his  words  as  his  spirit  escaped  in  the  blaze  of  his  glory. 

Exercise  68 —  Re-write,  changing  to  the  direct  form. 
Punctuate  according  to  the  rules. 

1.  De  Maistre  says  that  to  know  how  to  wait  is  the  great  secret 
of  success. 

<  2.  Pope  says  that  fame  can  never  make  us  lie  down  contented 
on  our  death-beds. 

"i  3.  Dean  Swift  averred  that  he  never  knew  a  man  come  to  emi- 
nence whojay  in  bed  of  a  morning. 

4.  Washington  Irving  relates  that,  in  the  course  of  a  December 
tour  in  Yorkshire,  he  rode  Tor  a  long  time  in  one  of  the  public 


104         THE   ELEMENTS   OF   ENGLISH   COMPOSITION. 

coaches  on  the  day  preceding  Christmas,  and  that  he  had  three  fine, 
rosy-cheeked  schoolboys  as  his  companions  inside. 

5.  All  this  time,  however,  Pandora's  fingers  were  half  uncon- 
sciously busy  with  the  knot;  and  happening  to  glance  at  the  flower- 
wreathed  face  on  the  lid  of  the  enchanted  box,  she  seemed  to 
perceive  it  slyly  grinning  at  her.  She  thought  the  face  looked 
very  mischievous,  and  wondered  if  it  smiled  because  she  was  doing 
wrong,  and  she  had  the  greatest  mind  in  the  world  to  run  away. 
But  just  then,  by  the  merest  accident,  she  gave  the  knot  a  kind  of 
twist,  which  produced  wonderful  results.  The  gold  cord  untwined 
itself,  as  if  by  magic,  and  left  the  box  without  a  fastening.  Pan- 
dora thought  that  the  strangest  thing  she  had  ever  known,  and 
questioned  herself  as  to  what  Epimetheus  would  say,  and  how  she 
could  tie  the  box  up  again. 

PRINCIPLE  XVIII.— Inversion. 

The  groves  are  sweet.  The  fields  are  verdant,  Gilpin 
went  away,  are  all  arranged  in  the  order  of  (1)  subject,  (2) 
predicate,  (3)  complement.  This  is  the  most  common 
arrangement,  and  is  called  the  natural  or  grammatical 
order.  Now  change  this  order.  Place  the  adjectives 
sweet,  verdant,  and  the  adverb  away  at  the  beginning,  as, 
Sweet  are  the  groves,  Verdant  are  the  fields,  Away  icent 
Gilpin.  What  is  the  effect  ?  These  words  by  being  placed 
in  so  unusual  and  prominent  a  place  attract  more  atten- 
tion; that  is,  they  are  more  emphatic.  Any  change  from 
the  grammatical  order  is  called  inversion,  and  the  sentence 
is  said  to  have  the  inverted  or  emphatic  order. 

The  subject,  or  any  word  whose  usual  position  is  at  or 
near  the  beginning,  is  made  emphatic  by  being  thrown 
toward  the  end;  the  verb,  or  any  word  whose  usual 
position  is  at  or  near  the  end,  is  made  emphatic  by  being 
thrown  toward  the  beginning.  1^  general,  a  word  becomes 
emphatic  by  being  placed  in  an  unusual  position. 


PRINCIPLES   OF   EXPRESSION.  105 

'  Principle. — When  energy  is  desired,  nse  the  inverted 
or  emphatic  order  of  sentence  in  preference  to  the  gram- 
matical. Inversion,  like  exclamation  and  interrogation, 
must  be  used  sparingly  in  prose. 

Exercise  69. —  Change  from  the  inverted  to  the  gram- 
matical order.  Show  what  words  are  rendered  emphatic 
by  the  inversion. 

1.  Bent  is  his  head  of  age,  and  red  his  tearful  eye.  2.  Beauti- 
ful was  the  night.  3.  Behind  the  Mack  wall  of  the  forest,  tipping 
its  summit  with  silver,  arose  the  moon.  4.  On  the  river  fell  here  and 
there  through  the  branches,  a  tremulous  gleam  of  the  moonlight.  5. 
Loud  and  sudden  and  near  the  note  of  the  whippoorwill  sounded, 
like  a  flute  in  the  woods,  and,  anon  through  the  neighboring  village, 
farther  and  farther  away  it  floated  and  dropped  into  silence.  6.  In 
came  a  fiddler  with  a  music-book.  In  came  Mrs.  Fezziwig,  one  vast, 
substantial  smile.  In  came  all  the  young  men  and  young  women 
employed  in  the  business.  7.  Wide  is  the  gate  and  broad  is  the  way 
that  leadeth  to  destruction.  8.  Fair  she  was  and  young;  but,  alas! 
before  her  extended  dreary  and  vast  and  silent  the  desert  of  life.  9. 
From  the  church  no  Angelus  sounded,  rose  no  smoke  from  the  roofs, 
and  gleamed  no  lights  from  the  windows.  10.  Round  he  throws  his 
baleful  eyes  that  witnessed  huge  affliction  and  dismay. 

Exercise  70 —  Change  from  the  grammatical  to  the 
emphatic  order  by  placing  the  italicized  words  in  emphatic 
positions.     Explain  the  effect  upon  the  sentence. 

1.  We  laid  him  down  slowly  and  sadly.  2.  The  night  was  wild. 
3.  The  lamps  shone  bright  o'er  fair  women  and  brave  men.  4.  Now 
still  evening  came  on,  and  gray  twilight  had  clad  all  things  in  her 
sober  livery.  5.  The  breath  of  morn  is  sweet,  and  the  coming  on  of 
grateful  evening  is  tweet.  6.  The  powerful  king  of  day  comes 
yonder,  rejoicing  in  the  east.  7.  The  world  of  God  around  us  is 
indeed  glorious;  but  the  world  of  God  within  us  is  still  more 
glorious.    8.   The  moonlight  was  lovely  as  it  gleamed  and  danced  on 


\J 


106  THE   ELEMENTS   OF   ENGLISH    COMPOSITION. 

the  waters.  9.  The  sleep  of  the  dead  is  deep.  10.  0  Peace,  thou 
art  lovely ;  and  thy  children  are  lovely  ;  and  the  prints  of  thy  foot- 
steps are  lovely.  11.  The  shout  that  echoed  was  sublime.  12.  The 
fierce  rushing  of  the  eagles'  wings  came  down.  13.  Thou  art  the 
gale  of  spring  in  peace  ;  the  mountain  storm  in  war.  14.  The  eyes 
gleaming  on  the  terrified  Romans  through  the  foliage  were  theirs. 
15.   She  stretched  out  her  hand  and  touched  it  timidly. 

PRINCIPLE  XIX.— Figures. 

There  are  certain  forms  of  expression  called  Figures, 
used  by  writers  for  the  purpose  of  giving  strength,  clear- 
ness, and  beauty  to  style.  Only  a  few  of  the  more 
common  figures  are  here  treated;  as,  Simile,  Metaphor, 
Metonymy,  and  Personification. 

SIMILE. 

If  we  say,  The  soldier  fought  like  a  lion,  we  do  not 
mean  that  he  fought  in  every  respect  like  a  lion,  that  is, 
with  a  lion's  teeth  and  claws,  but  that  he  had  a  X\ovl  s  fierce- 
ness, boldness.  When  the  poets  say,  Her  teeth  were  like 
pearl,  they  mean  merely  that  her  teeth  are  white  as  pearl. 
The  soldier  and  the  lion,  the  teeth  and  the  pearl,  have  no 
resemblance  except  in  this  one  point.  When  objects  in 
most  respects  dissimilar  are  shown  to  have  in  one  respect 
a  similarity,  the  expression  is  called  the  figure  of  simile. 
You  will  observe  that  the  two  parts  of  the  simile  are  con- 
nected by  like,  than,  or  as. 

Exercise  71. —  In  the  following  similes  tell  where  the 
resemblance  lies.  Re-write,  expressing  in  plain  language, 
the  idea  contained  in  the  simile. 

1.  The  Assyrian  came  down  like  a  wolf  on  the  fold.  2.  And 
the  sheen  of  their  spears  was  like  stars  on  the  sea.    3.   Black  were 


PRINCIPLES   OF   EXPRESSION.  107 

her  eyes  as  the  berry  that  grows  on  the  thorn  by  the  wayside.  4. 
And  when  she  had  passed,  it  was  like  the  ceasing  of  exquisite  musicj 
5.  An  author's  pen,  like  children's  legs,  improves  by  exercise.  TT 
He  watched  the  flames  and  the  smoke-wreaths  struggle  together  like 
foes  in  a  burning  city.  7.  Near  him  the  tire  of  the  cart-wheel  lay, 
like  a  fiery  snake,  coiled  round  in  a  circle  of  cinders.  8.  Like  a 
guiding  star,  amid  the  thickest  carnage  blazed  the  helmet  of  Navarre. 
9.  There  curls  the  smoke  of  my  cottage,  beguiling  the  children,  who 
cluster,  like  grapes,  at  the  doorway.  10.  And  green  and  blue  his 
sharp  eyes  twinkled,  like  a  candle  flame  where  salt  is  sprinkled.  11. 
On  the  river  fell  here  and  there  through  the  brandies  a  tremulous 
gleam  of  the  moonlight,  like  the  sweet  thoughts  of  love  on  a 
darkened  and  devious  spirit.  12.  Swiftly  they  followed  the  flight 
of  him  who  was  speeding  before  them  blown  by  the  blast  of  fate, 
like  a  dead  leal  Ov»r  the  desert.  13.  White  as  the  snow  were  his 
locks,  and  his  cheeks  as  brown  as  the  oak-leaves. 

METAPHOR. 

If  we  say,  He  was  a  lion  in  the  fight,  we  do  not  mean 
that  he  was  transformed  into  a  lion,  but  merely  that  he 
fought  as  fiercely  as  a  lion.  When  we  speak  of  the  golden 
leaves  of  the  maples,  we  do  not  mean  that  the  leaves  are 
made  of  gold,  but  that  they  are  yellow  like  gold.  The 
man  and  the  lion  are  alike  only  in  this  quality  of  fierceness, 
the  leaves  and  the  gold  only  in  the  quality  of  color.  This 
form  of  comparison  is  called  metaphor.  Metaphor  can  be 
expanded  to  simile  by  introducing  the  connective.  Oolden 
leaves  =  leaves  like  gold.  Silvery  moonbeams  =  moon- 
beams white  as  silver. 

Exercise  72. —  Explain  the  following  metaphors,  and 
turn  as  many  of  them  as  possible  into  similes. 

1.  Behind  the  black  wall  of  the  forest,  tipping  its  summit  with 
silver,  arose  the  moon.    2.  Thy  word  is  a  lamp  unto  my  feet.     3. 


108         THE  ELEMENTS  OF  ENGLISH  COMPOSITION. 

One  burnished  sheet  of  living  gold,  Loch  Katrine  lay  beneath  him 
rolled.  4.  Hale  and  hearty  he  was,  an  oak  that  is  covered  with 
snowflakes.  5.  Love  is  the  ladder  on  which  we  climb  to  a  likeness 
with  God.  6.  Sweet  Teviot,  on  thy  silver  tide  the  glaring  balefires 
blaze  no  more.  7.  All  flesh  is  grass.  8.  The  Lord  is  my  Shepherd. 
9.  "The  tale,  O  Poet,  which  thy  lips  have  told,"  I  said,  "is  words 
of  rubies  set  in  gold."  10.  Over  her  head  the  stars,  the  thoughts  of 
God  in  the  heavens,  shone  in  the  eyes  of  man.  11.  All  the  world's 
a  stage,  and  all  the  men  and  women  merely  players. 

METONYMY. 

If  we  say,  77ie  kettle  boils,  The  man  smokes  his  pipe, 
we  mean  the  water  in  the  kettle  boils,  the  man  smokes  the 
tobacco  in  the  pipe.  The  kettle  and  the  water  it  contains, 
the  pipe  and  the  tobacco,  have  not  a  single  quality  alike, 
but  they  go  so  necessarily  together  that  everybody  under- 
stands what  we  mean  when  we  speak  of  one  for  the  other. 
This  figure,  you  see,  is  not  a  comparison  of  objects,  a  like- 
ness of  certain  qualities,  as  in  simile  and  metaphor,  but  is 
merely  the  substitution  of  the  name  of  one  object  for  that 
of  another  toith  which  it  is  so  closely  connected  that  one 
will  suggest  the  other.  The  figure  is  called  metonymy ', 
that  is,  change  of  name.  So  we  say,  He  studies  Shake- 
speare, that  is,  Shakespeare's  plays.  The  glittering  steel 
descended,  that  is,  the  sword  which  is  made  of  steel. 

Exercise  73. —  Explain  the  following  metonymies. 
Convert  each  sentence  into  literal  language. 

1.  The  drunkard  loves  his  bottle.  2.  Man  shall  live  by  the  sweat 
of  his  brow.  3.  This  dish  is  well  cooked.  4.  The  pen  is  mightier 
than  the  sword.  5.  They  have  Moses  and  the  prophets,  let  them 
hear  them.  6.  Fair  she  was  to  behold,  that  maiden  of  seventeen 
summers.  7.  The  hedges  are  white  with  May.  8.  Do  you  read 
Byron  ?    9.  Socrates  drank  the  fatal  cup.     10.  A  fleet  of  thirty  sail 


PRINCIPLES  OF   EXPRESSION.  109 

was  seen.  11.  Fifty  head  of  cattle  were  driven  through  the  city. 
12.  She  lived  as  u  Sister  of  Mercy,  frequenting  lonely  and  wretched 
roofs  in  the  crowded  lanes  of  the  city.  13.  The  prince  succeeded  to 
the  throne.  14.  lie  could  not  believe  that  he  was  such  a  bad  oar  as 
the  old  hands  made  him  out  to  be. 

PERSONIFICATION. 

O  Freedom,  close  not  thy  lids  in  slumber.  Freedom  is 
here  represented  as  a  person,  has  eyelids,  can  sleep,  and 
can  understand  when  addressed.  The  Fox  said  to  the 
Crow,  "Beautiful  creature,  what  a  sweet  voice  you 
have!"  Here  these  animals  are  supposed  to  be  talking, 
which  in  reality  only  persons  can  do.  This  attributing  to 
lower  animals  and  to  inanimate  objects,  the  qualities  of 
persons  is  called  personification. 

Exercise  74. —  Explain  the  personifications,  and  ex- 
press each  example  in  plain  language. 

1.  0  sacred  Truth !  thy  triumph  ceased  awhile, 
And  Hope,  thy  sister,  ceased  with  thee  to  smile. 

2.  Hope  for  a  season  bade  the  world  farewell, 
And  Freedom  shrieked  when  Kosciusko  fell! 

3.  I  heard  the  trailing  garments  of  the  Night 

Sweep  through  her  marble  halls! 

4.  0  holy  Night!  from  thee  I  learn  to  bear 

What  man  has  borne  before! 
Thou  layest  thy  finger  on  the  lips  of  Care 
And  they  complain  no  more. 

5.  As  an  earthquake  rocks  a  corse 

In  its  coffin  in  the  clay, 
So  white  Winter,  that  rough  nurse, 

Rocks  the  dead-cold  Year  to-day. 
Solemn  Hours,  wail  aloud 
For  your  mother  in  her  shroud ! 


110         THE   ELEMENTS   OF   ENGLISH    COMPOSITION. 

Principle. —  Clearness,  energy,  and  beauty  of  expres- 
sion are  increased  by  a  judicious  use  of  figures.  Caution, 
however,  must  be  exercised  by  the  pupil  when  he  attempts 
to  use  figures  himself.  He  must  see  that  the  figures  used 
are  appropriate,  and  that  one  figure  is  not  mixed  with 
another. 

EXERCISES   IN   COMPOSITION. 
REPRODUCTION  XI. 

IN  THE  TOWER. 

By  the  river  deep  and  black, 

Where  the  countless  masts  arise, 
London's  Tower  lifts  its  strength 

To  the  English  skies. 

Centuries  ago  it  stood 

Grim  as  now,  and  seemed  to  frown 

On  the  river's  rolling  flood, 
And  on  London  town. 

There,  one  day,  knowing  not 

If  for  life  or  if  for  death, 
Led  a  prisoner  through  its  gate, 

Came  Elizabeth. 

Not  as  yet  the  haughty  queen, 

But  a  princess,  young  and  fair 
With  no  crown  upon  her  head, 

Save  of  golden  hair. 

Trembling,  passed  she  through  the  door, 
Door  of  dread  and  door  of  doubt, 

Where  so  many  had  gone  in, 
Never  to  come  out. 


PRINCIPLES  OF   EXPRESSION.  Ill 

Foes  behind,  and  spies  beside, 

Questioned,  menaced,  and  betrayed, 
None  to  counsel,  none  to  help, 

Went  the  royal  maid. 

Through  the  heavy-hearted  land, 

Good  men  prayed  with  bated  breath: 
"Saw  her,  Lord,  for  Thou  canst  save  — 
Save  Elizabeth ! " 

Musing  in  her  dreary  cell, 

Pacing,  all  alone,  for  hours, 
In  a  little  garden,  set 

Twixt  the  frowning  towers,— 

Slowly  crept  the  lagging  weeks, 

Sadly  dragged  the  lingering  day; 
Not  a  prisoner  might  dare 
Even  to  glance  her  way. 

Not  a  foot  might  cross  her  path, 

Nor  a  signal  meet  her  eye ; 
Thus  the  edict  of  the  Lords, 

Met  in  council  high. 

In  the  Tower  lived  children  four, 

Baby  children,  full  of  glee, 
And  they  nothing  knew  nor  cared 

What  the  law  might  be. 

A  new  playfellow  they  spied, 

That  was  all  they  cared  or  knew, 
And,  like  flies  to  honey-pot, 

Straight  to  her  they  flew. 

It  was  vain  to  tell  them  nay; 

It  was  vain  to  shut  the  door; 
Under,  over,  any  way, 

Went  the  children  four. 


112         THE   ELEMENTS   OF   ENGLISH   COMPOSITION. 

In,  like  leaping  lines  of  light, 

Went  they,  danced  they,  full  of  fun, 

Flowers  in  their  tiny  hands, 
Flowers  themselves,  each  one. 

Soft  and  sweet  the  princess  smiled, 
But,  by  some  instinctive  art, 

Well  they  knew,  the  little  ones, 
She  was  sad  at  heart. 

Much  they  longed  to  ease  her  pain, 
And  they  found  a  little  key, 

Picked  it  up,  and  brought,  and  said, 
"Mistress,  you  are  free. 

"Now  you  can  unlock  the  gate, 
And  can  go  abroad  at  will, 

Only  please  come  back  sometimes, 
To  us  children  still." 

When  the  mighty  Council-Lords 
Heard  the  artless  tale,  one  day, 

Of  the  children  and  their  words, 
Angry  men  were  they. 

"These  are  little  spies,"  they  swore, 
"Letter-carriers  —  dangerous ! 

We  must  look  into  this  thing. 
Bring  them  unto  us." 

So  before  the  Council-Lords 
Were  the  little  children  led, 

And  of  all  their  acts  and  words 
They  were  questioned. 

But  the  babies  nothing  told: 
There  was  nothing  they  could  tell, 

Save,  "The  lady  is  so  kind, 
And  we  love  her  well." 


PRINCIPLES   OF   EXPRESSION.  113 

Then  the  great  Lords  chid  the  babes 
(While  the  parents  held  their  breath), 

And  forbade  them  to  go  near 
"Dame  Elizabeth"; 

Threatening  heavy  punishments 

Should  they  dare  to  disobey, 
Or  to  pass  the  sentries  set 

In  the  garden  way. 

Sorely  grieved  the  little  ones 

For  their  playmate  fair  and  good; 
Oft  they  strove  to  reach  the  gate, 

But  they  never  could. 

For  the  soldiers,  tall  and  strong, 

Stood  to  left  and  stood  to  right, 
And  the  mothers  kept  strict  watch 

On  them,  day  and  night. 

Only  once,  a  tiny  boy, 

Slipping  past  the  guardians  all, 
Sought  and  found  a  little  hole 

In  the  outer  wall. 

Put  his  rosy  lips  thereto, 

Whispering,  "Mistress,  are  you  there? 
I  can  bring  you  no  more  flowers, 

For  I  do  not  dare. 

"It  was  naughty  that  we  came, 
So  the  great,  grand  Lordships  said  " — 

Then  he  heard  the  sentry's  step, 
And  he  turned  and  fled. 

Did  the  Princess  hear  the  boy? 

Or,  astonished,  long  to  know 
What  could  ail  her  little  friends 

That  they  shunned  her  so? 


114         THE   ELEMENTS   OF   ENGLISH   COMPOSITION. 

Did  she  ever  seek  them  out 

In  the  happier  after-day, 
When  she  reigned  great  England's  queen? 

—  History  does  not  say. 

But  the  tender  childish  tale, 
Like  a  fragrance  from  dead  flower, 

Lingers  yet,  and  maketh  sweet 
London's  great  old  Tower. 

Still  it  stands  as  then  it  stood, 
Sullen,  strong,  and  seems  to  frown 

On  the  river's  rolling  flood, 
And  on  London  town. 

And  a  traveller  from  far  lands, 
Little  known  or  thought  of  then 

By  the  haughty  Virgin  Queen 
And  her  merry  men, 

Standing  'neath  its  time-worn  door, 

Where  the  busy  river  runs, 

Smiles  to-day,  remembering 

Those  dear  little  ones. 

Susan  Coolidge. 

REPRODUCTION  XII. 

PROSE  READINGS. 
DEVELOPMENT  XII. 

PRINCESS  FUZZ.* 

'  Tis  said,  "Fine  feathers  make  fine  birds"; 
No  doubt  we  must  believe  the  words. 

But  "Handsome  is  that  handsome  does," 
Though  all  can't  dress  like  Princess  Fuzz. 

*From  "Our  Little  Ones  and  The  Nursery."    Boston:  Russell  Publishing  Co. 


PRINCIPLES   OF    EXPRESSION.  115 

Fine  drees  u  well;  but  don't  be  vain, 
Like  Princess  PttU  in  her  disdain. 

Of  all  the  jewels  'ncath  the  sun, 
None  can  be  brighter  than  this  one, — 

A  loving  heart  and  willing  hand, 
Not  dress,  make  friends  in  any  land. 

DEVELOPMENT  XIII. 

MAMMA'S  LITTLE  ASSISTANTS.* 

Bringing  home  the  wash, 
To  help  Mamma  to-day. 

Tripping  o'er  the  meadow, 
With  little  hearts  so  gay. 

They  live  just  in  the  cottage, 
Underneath  the  hill. 

But  they  help  Mamma  in  working, 
With  earnest  heart  and  will. 

"We're  Mamma's  assistants!" 
They  will  say  to  you; 

And  looking  at  their  faces, 

We  know  their  tale  is  true. 

Mary  D.  Brine. 

DEVELOPMENT    XIV. 

FOUND  DEAD  IN  THE  STREET. 

I. 

The  labor  is  over  and  done; 

The  sun  has  gone  down  in  the  west; 
The  birds  are  asleep,  every  one, 

And  the  world  has  gone  to  its  rest  — 

From  "Jingles  and  Joys,"  etc.    New  York:  Cassell  &  Co.,  Limited. 


116         THE   ELEMENTS   OF   ENGLISH   COMPOSITION. 

Sleepers  on  beds  of  down, 

'Neath  cover  of  silk  and  gold, 
Soft  as  on  roses  new  blown, 

Slept  the  great  monarch  of  old  I 
Sleepers  on  mother's  breast, 

Sleepers  happy  and  warm, 
Cosey  as  birds  in  their  nest, 

With  never  a  thought  of  harm! 
Sleepers  in  garrets  high, 

'Neath  coverlet  ragged  and  old; 
And  one  little  sleeper  all  under  the  sky, 

Out  in  the  night  and  cold! 
Alone  in  the  wide,  wide  world, 

Christless,  motherless,  he; 
Begging  or  stealing  to  live,  and  whirled 

Like  waif  on  an  angry  sea. 

II. 

The  daisy  looks  up  from  the  grass, 

Fresh  from  the  fingers  of  night, 
To  welcome  the  birds  as  they  pass, 

And  drink  in  fresh  rivers  of  light. 
Sleepers  on  mother's  breast 

Waken  to  summer  and  mirth; 
But  one  little  sleeper  has  gone  to  his  rest, 

Never  to  waken  on  earth  — 
Dead  —  found  dead  in  the  street, 

All  forsaken  and  lorn; 
Damp  from  the  head  to  the  feet, 

With  the  dews  of  the  sweet  May  morn ! 

III. 

Dead  —  for  the  want  of  a  crust! 

Dead  —  in  the  cold  night  air; 
Dead  —  and  under  the  dust, 

Without  ever  a  word  of  prayer! 
In  the  heart  of  the  wealthiest  city, 

In  this  most  Christian  land, 


PRINCIPLES   OF   EXPRESSION".  117 

Without  ever  a  word  of  pity 
Or  the  touch  of  a  kindly  hand! 

REPRODUCTION  XIII. 

THE  ROMANCE  OF  THE  SWAN'S  NEST. 

Little  Ellie  sits  alone 
'Mid  the  beeches  of  the  meadow, 

By  the  stream-side  on  the  grass, 

And  the  trees  are  showering  down 
Doubles  of  their  leaves  in  shadow, 

On  her  shining  hair  and  face. 

She  has  thrown  her  bonnet  by, 
And  her  feet  she  has  been  dipping 

In  the  shallow  water's  flow. 

Now  she  holds  them  nakedly 
In  her  hands,  all  sleek  and  dripping, 

While  she  rocketh  to  and  fro. 

Little  Ellie  sits  alone, 
And  the  smile  she  softly  uses, 

Fills  the  silence  like  a  speech, 

While  she  thinks  what  shall  be  done  — 
And  the  sweetest  pleasure  chooses 

For  her  future  within  reach. 

Little  Ellie  in  her  smile 
Chooses "I  will  have  a  lover, 

Riding  on  a  steed  of  steeds! 

He  shall  love  me  without  guile, 
And  to  him  I  will  discover 

The  swan's  nest  among  the  reeds. 

"And  the  steed  shall  be  red-roan, 
And  the  lover  shall  be  noble, 

With  an  eye  that  takes  the  breath. 
And  the  lute  he  plays  upon, 


118         THE   ELEMENTS   OF   ENGLISH   COMPOSITION. 

Shall  strike  ladies  into  trouble, 

As  his  sword  strikes  men  to  death. 

"And  the  steed,  it  shall  be  shod 
All  it)  silver,  housed  in  azure, 

And  the  mane  shall  swim  the  wind; 

And  the  hoofs  along  the  sod 
Shall  flash  onward  and  keep  measure, 

Till  the  shepherds  look  behind. 

"  But  my  lover  will  not  prize 
All  the  glory  that  he  rides  in, 

When  he  gazes  on  my  face. 

He  will  say,  '  O  Love,  thine  eyes 
Build  the  shrine  my  soul  abides  in, 

And  I  kneel  here  for  thy  grace.' 

"Then,  ay,  then  —  he  shall  kneel  low 
With  the  red-roan  steed  anear  him  — 

Which  shall  seem  to  understand  — 

Till  I  answer, 'Rise  and  go! 
For  the  world  must  love  and  fear  him 

Whom  I  gift  with  heart  and  hand.' 

"Then  he  will  arise  so  pale, 
I  shall  feel  my  own  lips  tremble 

With  a  yes  I  must  not  say, 

Nathless  maiden-brave,  '  Farewell,' 
I  will  utter  and  dissemble  — 

'  Light  to-morrow  with  to-day.' 

"  Then  he'll  ride  among  the  hills 
To  the  wide  world  past  the  river, 

There  to  put  away  all  wrong; 

To  make  straight  distorted  wills, 
And  to  empty  the  broad  quiver 

Which  the  wicked  bear  along. 

"Three  times  shall  a  young  foot-page 
Swim  the  stream  and  climb  the  mountain 


PRINCIPLES   OF   EXPRESSION.  119 

And  kneel  down  beside  my  feet  — 

I  Lo,  my  master  sends  this  gage* 
Lady,  for  thy  pity's  counting! 

What  wilt  thou  exchange  for  it? ' 

"  And  the  first  time,  I  will  send 
A  white  rosebud  for  a  guerdon  — 

And  the  second  time,  a  glove; 

But  the  third  time  —  I  may  bend 
From  my  pride,  and  answer  —  '  Pardon, 

If  he  comes  to  take  my  love.' 

"Then  the  young  foot-page  will  run  — 
Then  my  lover  will  ride  faster, 
Till  he  kneeleth  at  my  knee: 

I I  am  a  duke's  eldest  son ; 
Thousand  serfs  do  call  me  master  — 

But,  0  love,  I  love  but  thee!  * 

"He  will  kiss  me  on  the  mouth 
Then,  and  lead  me  as  a  lover 

Through  the  crowds  that  praise  his  deeds: 

And  when  soul-tied  by  one  troth 
Unto  him  I  will  discover 

That  swan's  nest  among  the  reeds." 

Little  Ellie,  with  her  smile 
Not  yet  ended,  rose  up  gaily, 

Tied  the  bonnet,  donned  the  shoe, 

And  went  homeward,  round  a  mile, 
Just  to  see,  as  she  did  daily, 

What  more  eggs  were  with  the  two. 

Rushing  through  the  elm-tree  copse, 
Winding  up  the  stream,  light-hearted, 

Where  the  osier  pathway  leads  — 

Past  the  boughs,  she  stoops  —  and  stops. 
Lo,  the  wild  swan  had  deserted  — 

And  a  rat  had  gnawed  the  reeds. 


120         THE  ELEMENTS  OP  ENGLISH  COMPOSITION. 

Ellie  went  home  sad  and  slow. 
If  she  found  the  lover  ever, 

With  his  red-roan  steed  of  steeds, 

Sooth  I  know  not !  but  I  know 
She  could  never  show  him —  never, 

That  swan's  nest  among  the  reeds! 

Elizabeth  Barrett  Browning. 

DEVELOPMENT  XV. 

THE  LITTLE  FLOWER.  GIRL  * 

See  little  patient  Bessie, 

As  through  the  street  she  goes. 
What  is  she  doing,  think  you,  dear? 

She's  showing  us  a  rose. 
Poor,  patient  little  Bessie! 

Her  face  is  pale  and  sad. 
If  she  could  sell  her  flowers  now, 

I  know  'twould  make  her  glad. 

When  on  the  street  we  meet  her, 

We'll  speak  a  kindly  word. 
It  may  be  gentle  words  are  not 

By  Bessie  often  heard. 
If  we  can  make  her  happy, 

Then  let  us  freely  buy 
One  little  rose  to  please  her  heart ; 

Hark !  hear  the  sweet  voice  cry :  - 

"Who'll  buy  my  sweet,  fresh  flowers? 

I  gathered  them  to-day ! 
Kind  ladies,  and  kind  gentlemen, 

For  just  a  moment  stay, 
And  see  my  lovely  flowers, 

My  roses  sweet  and  fair! 

I'll  give  them  each  to  anyone 

Who  has  five  cents  to  spare." 

Mary  D.  Brine. 

*From  "Jingles  and  Joys,"  etc.    New  York:  Cassell  &  Co.,  Limited. 


PRINCIPLES   OF   EXPRESSION.  121 

DEVELOPMENT    XVI. 
BULLFROG  TALK.* 

Crodunk,  crodunk !  I'm  the  wisest  frog, 
That  ever  lived  in  this  muddy  bog. 
I  know  the  world,  though  they  say  I'm  green, 
For  I  see  it  all  behind  a  screen. 

Crodunk,  crodunk!  I  keep  a  school 
Down  in  the  shady,  watery  pool. 
The  young  ones  learn  to  dive  and  swim, 
And  then  they  sing  a  temperance  hymn. 

Crodunk,  crodunk!  I  have  a  wife; 
But  she  and  I  ne'er  meet  in  strife. 
All  know  I  often  say  "  Kerchog! " 
Which  means  that  I'm  a  model  frog. 

Grace  H.  Knapp. 


DEVELOPMENT   XVII. 

HOUSEKEEPING.! 

They  were  a  loving  couple, 

And  they  built  a  cosey  nest 
Right  snugly  in  the  thicket 

Where  the  little  wife  might  rest, 
While  the  husband  bird  was  singing 

His  tuneful  serenade, 
And  the  wine  bird  was  listening 

In  the  midst  of  leafy  shade. 
But  one  day  a  cruel  hunter 

Came  shooting  by  that  way, 
And  there  was  but  one  bird  nesting 

When  came  the  close  of  day. 

*  From  "  Our  Little  Ones  and  The  Nursery."  Boston :  Russell  Publishing  Co. 
tFrom  "Jingles  and  Joys,"  etc.    New  York:  Cassell  &  Co.,  Limited. 


122         THE   ELEMENTS   OF   ENGLISH   COMPOSITION. 

Oh,  how  long  the  wifie  waited, 
For  the  mate  that  sang  no  more! 
Dear  boys,  are  you  not  sorry 
For  that  birdie's  heart  so  sore? 

Mary  D.  Brine. 

REPRODUCTION  XIV. 

EASTER  LILIES. 

A  little  maid  walked  smiling  on  her  way, 
Bearing  white  lilies  on  an  Easter  day; 
Herself  a  lily,  pure  and  fair  as  they. 

But,  as  she  passed,  they  bore  along  the  mart 
A  little  child  whom  dcatli  had  set  apart, 
His  small  hands  lying  empty  on  his  heart. 

Close  to  the  bier  the  little  maiden  pressed, 
And  laid  her  lilies  on  the  pulseless  breast, 
Saying,  "Take  these  to  light  thee  to  thy  rest. 

"If  to  my  Lord  I  bring  no  lily  bell, 

He  is  so  near  my  heart  He  knows  full  well 

I  love  Him  more  than  any  tongue  can  tell." 

Altar  and  chancel  shone  with  radiant  bloom, 
Breathing  sweet  odors  through  the  minster's  gloom, 
Type  of  the  life  that  triumphed  o'er  the  tomb. 

She  heard  the  organ's  solemn  voice,  that  soared 
As  if  in  Heaven  to  seek  the  risen  Lord 
Crowned  by  His  angels,  by  His  saints  adored. 

While,  out  of  sight,  a  woman  sang  alone, 
With  such  a  wondrous  rapture  in  her  tone, 
She  seemed  a  seraph  singing  by  the  throne. 

The  little  maid  knelt  down  with  reverent  grace, 
And  a  great  light  fell  on  her  upturned  face, 
Bringing  a  vision  of  the  heavenly  place ; 


PRINCIPLES   OF   EXPRESSION.  123 

Wherein  she  saw  her  Lord,  with  smiling  eyes, 
Amid  the  countless  hosts  of  Paradise, 
Bearing  the  little  child,  by  death  made  wise. 

Her  very  heart  ran  o'er  with  joy  to  see 
Her  lilies  blooming  by  the  Master's  knee. 
Grown  fair  as  any  deathless  flowers  might  be. 

While  from  the  blessed  child  this  message  fell: 
"  Dear  Lord,  thy  little  maid,  who  loves  Thee  well, 
Sends  these,  by  me,  her  faithful  love  to  tell." 

Blessed  are  they  whose  prayers  in  deeds  find  wing, 
Whose  hands  the  gifts  of  humble  service  bring, 
And  in  his  lowly  children  serve  their  king. 

Blessed  are  they  who  hear  the  Master  plead, 

In  every  cry  of  human  woe  or  need; 

Lo!  in  their  hearts  the  Lord  is  risen  indeed. 

Emily  Huntington  Miller. 

DEVELOPMENT  XVIII. 

THE  WISH. 
Topical  Outline. 

1.  Little  Jack  and  Nell  sent  on  an  errand. 

2.  On  their  way  they  pick  the  last  rose  on  a  bush  by  the  roadside. 

3.  A  fairy  appears,  who  tells  them  that  they  have  picked  the 
enchanted  rose,  and  that  whatever  they  first  wish  for  they  shall 
receive. 

4.  They  presently  spy  some  berries  high  above  their  reach,  and 
forgetful  of  the  rose,  wish  they  were  tall  enough  to  reach  the  berries. 

5.  They  suddenly  become  tall  as  giants. 

6.  They  search  a  long  time  for  the  fairy,  that  she  may  restore 
them  to  their  proper  size,  but  cannot  find  her. 

7.  Are  obliged  to  return  home  sorrowful. 

8.  The  fairy  at  last  appears,  and  restores  them  to  their  natural 
size. 


124         THE   ELEMENTS   OF   ENGLISH   COMPOSITION. 
DEVELOPMENT    XIX. 

ABOU  BEN  ADHEM. 

Abou  Ben  Adhem  (may  his  tribe  increase !) 
Awoke  one  night  from  a  deep  dream  of  peace, 
And  saw,  within  the  moonlight  in  his  room, 
Making  it  rich,  and  like  a  lily  in  bloom, 
An  angel  writing  in  a  book  of  gold: — 
Exceeding  peace  had  made  Ben  Adhem  bold, 
And  to  the  presence  in  the  room  he  said, 
"What  writest  thou?" — The  vision  raised  its  head, 
And  with  a  look  made  all  of  sweet  accord, 
Answered,  "The  names  of  those  who  love  the  Lord." 
"And  is  mine  one?"  said  Abou.     "Nay,  not  so," 
Replied  the  angel.     Abou  spoke  more  low, 
But  cheer'ly  still;  and  said,  "I  pray  thee  then, 
Write  me  as  one  that  loves  his  fellow-men." 

The  angel  wrote,  and  vanished.     The  next  night 
It  came  again  with  a  great  wakening  light; 
And  showed  the  names  whom  love  of  God  had  blessed, 
And  lo!  Ben  Adhem's  name  led  all  the  rest. 

Leigh  Hunt. 

SUBJECTS  FOR   STORY. 

Dispute  between  Mouth,  Nose,  and  Eyes,  concerning  their  respect- 
ive Usefulness  to  Man. 

On  the  Death  and  Burial  of  a  Bird. 

Two  Parent  Birds  on  the  Robbing  of  their  Nest. 

Meditations  of  a  Church  Mouse. 

Two  Dolls'  Opinions  of  their  Mistresses. 

The  Experience  of  a  Silver  Dollar. 

The  Crow  and  the  Scarecrow. 

The  Flower  and  the  Clouds. 

The  Tea-kettle's  Song. 

The  Dance  of  the  Leaves. 


PRINCIPLES   OF   EXPRESSION.  125 

What  the  Masks  in  a  Shop  Window  Did. 

Little  Bennie  in  the  Hay-field. 

Dollie's  Christmas. 

The  Adventures  of  the  Toy  Soldiers. 

Mrs.  Jenkins'  Poodle. 

How  Madge  Learned  to  Skate. 

The  Cat  and  the  Canary  Bird. 

The  Snow  Fort. 

The  Story  of  a  Bear. 


CHAPTER  V. 


LETTEE-  WRITING. 

A  pleasing  and  instructive  exercise  is  the  composition 
of  letters.  The  pupil  may  write  of  actual  occurrences,  or 
may  draw  upon  his  imagination. 

A  letter  consists  of  six  parts: — 

1.  Heading.  4.  Body. 

2.  Address.  5.  Complimentary  Close. 

3.  Salutation.  6.  Signature. 

THE  HEADING. 

EXAMPLES. 


The  Heading  should  consist  of:  (1)  The  name  of  the 
place  from  which  the  letter  is  written,  and  should  contain 
all  the  items  necessary  for  your  correspondent  to  know  in 
directing  his  answer ;  as,  town,  county,  state,  number  of 

126 


LETT  ER-W  KITING.  127 

street,  or  post-office  box.     (2)  The  date  of  writing,  that  is, 
tin;  <l;iy  of  the  month,  the  month,  and  the  year. 

The  Heading  may  occupy  the  right  of  one,  two,  or 
even  three  lines  at  the  top  of  the  page,  leaving  a  margin 
at  the  top  of  not  less  than  an  inch  and  a  half.  In  all 
except  business  letters,  the  Heading  may  be  placed  below 
the  Signature,  at  the  left  margin. 

TIIE  ADDRESS. 

EXAMPLES. 

5  lac Aet ^e*.   Gfew 


,<ii, 


c-^n,  ^/madd. 


By  examining  these  examples  it  will  be  seen  that  the 
Address  consists  of  two  parts:  (1)  The  name  and  title  of 
the  person  addressed.  (2)  The  place  to  which  the  letter 
is  to  be  sent. 

The  address  begins  at  the  left  margin,  and  may  occupy 
one,  two,  or  even  three  lines  just  below  the  heading.  In 
any  except  business  letters  it  may  be  placed  near  the  left 
margin  on  the  line  below  the  signature.  In  familiar  let- 
ters it  is  often  omitted. 


128         THE   ELEMENTS   OF   ENGLISH   COMPOSITION. 
THE  SALUTATION. 

EXAMPLES. 

€i4Zd.<ui.€4.   tCa  <u,<i<u4.  ^-m-cl  -^e-t^e-t. 


\€n^wm/ 


i  ■&<i'Pi€L/L  'Ca  'Ci'C^^t'a'UA^e-e^ae. 


4ew 


£  e&s 


■me  4*46  de'nizt'ruz,,  -e€cS 


The  Salutation  stands  on  the  line  below  the  address,  or 
if  the  address  is  placed  at  the  close,  on  the  line  below  the 
heading. 

If  the  address  is  long,  a  comma  and  a  dash  are  placed 
after  the  Salutation,  and  the  body  of  the  letter  begins 
upon  the  same  line.  If  the  address  is  short,  or  placed  at 
the  close,  the  body  begins  on  the  line  below  the  Saluta- 
tion.    (See  Models  of  Letters.) 


LETTER-WRITING.  129 

THE  COMPLIMENTARY  CLOSE  AND  SIGNATURE. 

EXAMPLES. 


T 

The  Complimentary  Close  consists  of  the  closing  words 
of  respect  or  affection.  It  may  occupy  one,  two,  or  even 
three  lines  toward  the  right.  The  signature  follows  on 
the  line  below.  The  Complimentary  Close,  the  Heading, 
and  the  Address  are  followed  by  a  period,  and  the  parts 
are  separated  by  the  comma. 

The  Complimentary  Close  and  the  Salutation  must  cor-' 
respond  in  the  degree  of  respect  or  affection  expressed. 
To  strangers  or  superiors  the  proper  Salutation  is,  Sir, 
Dear  Sir,  My  Bear  Sir,  Madam,  Dear  Madam,  etc., 
and  the  corresponding  Complimentary  Close  is,  Respect- 
fully yours,  Very  respectfully  yours,  With  highest  re- 
gards, Gratefully  yours,  Truly  'yours,  etc.  To  friends 
and  relatives  the  Salutation  is  Dear  Father^  My  Dear 
9 


130 


THE   ELEMENTS   OF   ENGLISH   COMPOSITION. 


Uncle,  Dearest  Cousin,  My  Dear  Friend,  etc.,  and  the 
corresponding  Complimentary  Close  is  Your  loving 
daughter,  Most  affectionately  yours,  Your  sincere 
friend,  etc. 


THE  SUPERSCRIPTION. 

EXAMPLES. 


4dd 


c?<A  d.  SS«JL 


ti'fce.'t, 


<z.<t'M,d'u<e.<C4.\ 


%u*  Sty. 


l&'Ct/a4,'n-t'ez. 


ty^a-vi. 

STAMP. 

LETTER-WRITING.  131 


C^edd^id. 

STAMP. 

<4# 

The  Superscription  is  the  address  upon  the  envelope. 
The  name  should  be  about  midway  between  the  top  and 
bottom  of  the  envelope,  and  at  about  equal  distances 
from  the  two  ends. 

MODEL   1, 
Business  Letter. 


J$€lC'rZdO.<Ktt4. 


132         THE   ELEMENTS   OF   ENGLISH   COMPOSITION. 


■ate.  'ti&'Ced  ^Ca   ^cA-e  ^<i-ef^id/    -tewC  ^z<z   4&uds£<t-ci<£-t.€L4td. 
^^^•u^d   <£<tu 


MODEL   2. 

Note  from  Charles  Dickens  to  Mr.  Fields. 


le-d-c&ti' 


c^ttz'^ic-e.    -crn-a.    d-a.- 


ad-e    'tu-e    -tz,t<ue.    <£Si-e    'Ui&<ci'£-n€.'i    <z    -£<z<n,-a,e4. 

tz-ci'U,!'  Cy  d?/i't4>ifi  -cue  nt-ud^c  Ae-  dtzjce-'t  'tut'CA.  <£n<i'C 
fed-ec.-awCt.-c-4'K'  ^jr  C///(Q&M</-a.'U,  <ut-t^c  d'U-t^C  ^<x^  Cf/ 
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■oil     'C-n-e    d-t&'M^^Aeizi'Ce-ci     d'C<i-&e-zd<'  Cf/p     -it    ■&■€. 


LETTER- WRITING.  133 

<oU-tiz,£<C  Atxi  ^f6.  Cs&.'U'C  d/  ■tze-a-e/y  <ty  <n.<x<£/  ■&*&  -Gait 
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^^    oezAcd/      "  G4%eAte<t-t<n<a./     dti,     toei'if 
i  Acetic,*?,. 

AA  A<t*i€/ed.A  de-atidcidj 

&u&4.   -ciAAe-cAtavtizAe 


134         THE   ELEMENTS   OF   ENGLISH   COMPOSITION. 

MODEL  3. 

Letter  to  Thomas  Carlyle  from  Mrs.  Carlyle  in  the  Name 
of  Her  Dog  Nero. 

-u^l^d^e   d£c   su-ait  'tnitde'tp    /W^    ^n-id'tdedd  <u-e'C'74-tz   ■c~<wt 


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ri'. 


*t    44,0.14.   wi-ait    'ftsncu*    ^fl04sU'Wi'U4,'Pi-e     /^-Ae.   e-ci'Cj 


su-c^t-e    /^^e. 


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awe.  -ad  <£tt*a   " '  ddn-adZc -ue-t-dd-tzd      &n.  wits,   dvitddd-edd  d 


fie-  •c-a.dd.&cz   sCSi-cm  *i'ed<id<z.d   -a^ 
dddtddd-edd  d<z-t<z,    //  S&/-add  d?  tt,o.u.  du-cd-i 


/ 


<£/  -cC  /       -add*/  <d-a<z.e€/  dddy,'    e-addS         G7 
w-tzddd,  df  d^u^A-edd   dt-o   ttttidsfe  -add,  -ac-c-ottwC  -ad?  tdk  <u-e= 


LETTER-WRITING.  135 

dkd-a,  <u*ed.  C^-dt-e/  M-auG-c^u,  <c-arn€-/  ■v-u.t  -a  <m<i4d 
d&d  " '  <uu.i.-c<zd  dizde.  j  -emtz  dwu,  wi<tdddedd  -atzd^e 
<ries*n  *z  -t-a-u^^cyt-a^  Aec-aud-e  dA-e  4i*<zd'n  d  ■a.O't^i-^  *£o 
-U£.  dZu-iiet/  Aede.  md  <a.<CdY  ^x@<><Cu.<rn'd-t<tde.  &.>n<z  Cy 
€£0.44  d  'rnt'yi-cz  duA-ede  -u^e   -ade-  -uudt-e^ 

i-cd  <td  <z  jftM'e  iztzsu.  d&d  <a  dun/  <tdd€£  Cj 
z<u,  <u&  dti-rLedt  d<x  de<e  CMQa-n-e  <a,<ni& 
^guwtwiS  Q/sie'u.  <id&  dcadt/i  <*i€.&e/  -t^edd  dAdetz 
<zo^d/  <zdd<z  izd-unz'U.d  do.  -adZa-cL  d<i  d-e-e  wie-/  -wn-cz 
dfAe    </i<id'io<L    dd    -e^te-ad   jUm.    'tuAedd   d/    d/t-t-cquz.   -ad? 


Aed,-    €M<z    OnQ-tdS   ^/■tvtddti'U,    A<id    ■a.dstuct'ud  due 


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■<&ri€i     I£z/ud3ddn.    tzdi-cz     'me    -etzd-taviz,    dAe-m    -add    dAe 


G/ued<z<iyi^  e^e 

e<zd      (^/^€idd^€d/ O^W     ^Pt-cddUedd     A-d-au-aA^C 

cA-tztd,  iZ'n-cC  dmcz,  "  ^Q&wd-e  -adaid-a,  <U£-es£A 
<ujL£<tde  <tA  dAtwec/,  <idd</  CX  ea-uAci  Acdt-cdA 
:.  G/cfwC    dAe    A,efot    <m-e    do.    datd-a    did    dAe 

^fjoid-e/e.'yi  ^ddtd€i4.<u,/   *idd<z    -adAed  fedfizced,   <cA<id    Uf 


136        THE  ELEMENTS  OP  ENGLISH   COMPOSITION. 

-tdw  <£  A-e  r  Oz-n.<z    ^pt^   ^md-Ci-edd   -ux-ad  d-a    -tz-aad 

■ad   <£a    dtz-u,      r/.  %y  <y.-ed  /  0&<i<i-c£    <t/i<e<n    ^cA-e  -o€</ 

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■c-wltzd    -tuA-t^ce.   -cue   -tuete-   eu-tY         n^^^-^-^Wz^  drzzW 
d-rie   d*zi<t£   ■Z-rL-em   'i-n.'i-auiz.ri  ■tA.e.   &<t4.'Pi4Zy    -cmtz    't-fLVu. 

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HINTS  ON  LETTER-WRITING. 

1.  The  greatest  charm  of  a  letter  lies  in  simplicity 
and  unaffected  ease.  This  does  not,  however,  imply 
a  lack  of  painstaking  in  the  composition.  To  relatives 
and  friends,  write  frankly  and  affectionately;  to  superiors 
and  strangers,  respectfully. 

2.  Do  not  fill  your  letters  with  apologies  and  mere 
repetitions;  but  with  chat,  news,  or  information.  Busi- 
ness letters  should  be  brief  and  to  the  point. 

3.  Do  not  neglect  to  express  your  affection  or  respect 
for  your  correspondent  by  the  use  of  the  prescribed 
forms. 

4.  A  letter  has  two  margins.  The  first  is  at  the  top 
of  the  page  and  is  an  inch  and  a  half  in  depth,  or  more 
if  the  letter  is  to  be  short.  The  second  is  at  the  left  of 
the  page,  and  should  not  generally  be  more  than  a  half  or 
three-fourths  of  an  inch,  unless  the  page  is  wide. 


138         THE   ELEMENTS   OF   ENGLISH   COMPOSITION. 

5.  Copy  and  fold  with  neatness.  It  is  an  insult  to  a 
correspondent  to  send  a  letter  carelessly  written,  or 
blotted,  or  awkwardly  folded. 

SUBJECTS  FOR  LETTER-WRITING. 

Taking  the  letters  given  above  as  models,  write  letters 
on  some  of  the  following  subjects: — - 

From  Dog  Dick  to  his  absent  master. 

To  Santa  Claus. 

From  Dolly  to  her  mistress. 

To  Cousin  Fannie,  describing  Christmas. 

To  Mamma,  giving  an  account  of  a  visit. 

To  Papa,  describing  some  remarkable  event. 

To  an  absent  schoolmate,  discussing  school  matters. 

To  a  friend,  telling  the  news. 

To  Papa,  stating  your  opinion  of  books  you  are  reading. 

To  a  friend,  giving  your  opinion  of  certain  public  events. 


PART  II . 


CHAPTER  VI. 
THE  PARAPHRASE. 

The  Paraphrase  is  a  full  and  exact  reproduction  of  an 
author's  thought  in  one's  own  language;  it  is  a  sort  of 
translation  from  the  author's  language  to  one's  own.  It 
differs  from  Reproduction  in  being  more  minute. 

RULES  FOR  THE  PARAPHRASE. 

1.  Do  not  make  this  a  mere  substitution  of  one  word 
for  another;  but  read  the  passage,  get  the  full  meaning 
of  every  word  in  it,  and  the  collective  sense  of  the  wThole. 
Fill  your  mind  with  the  thought;  then  express  it  freely 
in  your  own  language;  avoid  as  much  as  possible  even 
the  same  construction  of  sentence. 

2.  You  must  not  use  the  words  of  the  author,  except 
in  those  few  cases  where  there  is  no  fitting  substitute  of 
word  or  phrase. 

3.  You  will  sometimes  find  it  difficult  to  be  as  brief  as 
your  author.  He  may  have  learned  to  condense  much 
thought  into  few  words.     Imitate  him,  however,  as  well 

139 


140         THE   ELEMENTS   OP   ENGLISH   COMPOSITION. 

as  you  can,  but  not  at  the  expense  of  fulness  or  clear- 
ness. 

4.  Try  to  reproduce  any  peculiar  excellences  of  the 
author's  style;  its  dignity,  its  elegance,  its  humor. 

5.  In  paraphrasing  poetry,  do  not  try  to  follow  all  its 
poetic  flights;  changes  of  figurative  expressions  are  allow- 
able. 

6.  Having  written  the  passage,  compare  it  with  the 
original,  and  change  whatever  expressions  you  may  inad- 
vertently have  copied.  See  to  it  that  your  rendering  is  a 
clear,  well  expressed,  and  perfectly  intelligible  piece  of 
English.     Apply  with  care  the  Principles  of  Expression. 

A  passage  may  be  paraphrased  in  a  variety  of  ways. 
Take  for  example  the  following  paraphrases  of  Milton's 
lines:  — 

Now  came  still  evening  on,  and  twilight  gray 

Had  in  her  sober  livery  all  things  clad. 

Paraphrases. 

1.  The  silence  of  evening  now  approached,  and  twilight  had 
wrapped  the  earth  in  gloom. 

2.  Silent  evening  was  now  drawing  on,  and  the  eartli  was  envel- 
oped in  the  dusk  of  twilight. 

3.  Evening  was  silently  approaching;  twilight  had  already  en- 
veloped the  earth. 

4.  The  peaceful  repose  of  evening  was  now  at  hand,  and  the 
dusky  veil  of  twilight  had  covered  the  face  of  nature. 


THE   PARAPHRASE.  141 


SELECTIONS  FOR  PARAPHRASING. 

SELECTION  I. 

SELLA. 

A  FAIRY   TALE. 

Beside  a  pleasant  dwelling,  ran  a  brook 
Scudding  along  a  narrow  channel  paved 
With  green  and  yellow  pebbles ;  yet  full  clear 
Its  waters  were,  and  colorless  and  cool, 
As  fresh  frflm  granite  rocks.     A  maiden  oft 
Stood  at  the  open  window,  leaning  out, 
And  listening  to  the  sound.the  water  made, 
A  sweet,  eternal  murmur,  still  the  same, 
And  not  the  same;  and  oft,  as  spring  came  on, 
She  gathered  violets  from  its  fresh,  moist  bank, 
To  place  within  her  bower,  and  when  the  herbs 
Of  summer  drooped  beneath  the  midday  sun, 
She  sat  within  the  shade  of  a  great  rock, 
Dreamily  listening  to  the  streamlet's  song. 
Ripe  were  the  maiden's  years;  her  stature  showed 
Womanly  beauty,  and  her  clear,  calm  eye 
Was  bright  with  venturous  spirit,  yet  her  face 
Was  passionless,  like  those  by  sculptor  graved 
For  niches  in  a  temple.     Lovers  oft 
Had  wooed  her,  but  she  only  laughed  at  love, 
And  wondered  at  the  silly  things  they  said. 

Example  of  Paraphrase. 

by  A  PUPIL. 

A  pleasant  home  stood  on  the  bank  of  a  swiftly  flowing  stream- 
let, through  whose  transparent  depths  shone  the  brightly  colored 
pebbles  on  the  bottom,  and  whose  waters  were  as  cold  as  if  they  had 
just  sprung  from  their  hiding-place  among  rocks  of  granite.    A  fair 


142         THE   ELEMENTS   OF   ENGLISH   COMPOSITION. 

maid  often  came  to  the  open  window  of  the  dwelling,  and,  leaning 
there,  would  listen  to  the  pleasant  babble  of  the  stream,  a  song  old, 
yet  ever  new. 

When  spring  brought  forth  the  nodding,  blue-eyed  violets,  she 
plucked  them  from  the  streamlet's  bank,  and  carried  them  home  to 
adorn  her  arbor.  In  summer,  when  all  the  verdure  withered 
beneath  the  scorching  sun  of  noontime,  she  sought  a  cool  retreat 
beneath  an  over-hanging  rock,  and  listened  to  the  music  of  the 
brook,  while  her  thoughts  drifted  away  in  idle  fancy. 

She  was  in  the  full  bloom  of  youth,  her  figure  was  tall  and 
womanly,  and  her  clear,  tranquil  eye  shone  with  life  and  daring; 
but  her  calm  face  was  as  passionless  as  one  moulded  by  a  sculptor's 
hand  to  place  in  temple  walls. 

Many  lovers  bestowed  their  affection  upon  her,  but  she  ridiculed 
love,  and  they  excited  in  her.no  other  emotion  than  that  of  surprise 
at  the  folly  of  their  words. 

PARAPHRASE   I. 

Discriminate  between  the  synonymes  *  babble,  prattle, 
chatter,  chat.  Study  especially  trailing,  dell,  sylvan, 
shallop,  prow. 

'  Twas  her  delight  to  wander  where  wild  vines 
O'erhang  the  river's  brim,  to  climb  the  path 
Of  woodland  streamlet  to  its  mountain  springs, 
To  sit  by  gleaming  wells  and  mark  below 
The  image  of  the  rushes  on  its  edge, 
And,  deep  beyond,  the  trailing  clouds  that  slid 
Across  the  fair  blue  space.     No  little  fount 
Stole  forth  from  hanging  rock ;  or  in  the  side 

*  Note.— The  term  Synonyme  is  applied  to  words  that  have  nearly  or  quite 
the  same  meaning.  There  are,  however,  few  words  that  have  exactly  the  same 
meaning.  The  pupil,  therefore,  must  not  suppose  that  all  the  synonymes  given 
in  the  dictionary  in  definition  of  a  word  can  be  used  as  substitutes.  For  exam- 
ple, though  kill,  murder,  and  assassinate  are  given  as  synonymes,  yet  there  is  a 
marked  distinction.  A  man  may  be  killed  without  being  murdered,  and  mur- 
dered without  being  assassinated. 


THE   PARAPHRASE.  143 

Of  hollow  dell,  or  under  roots  of  oak, 

No  rill  came  trickling,  with  a  stripe  of  green, 

Down  the  bare  hill,  that  to  this  maiden's  eyes 

Was  not  familiar.     Often  did  the  banks 

Of  river  or  of  sylvan  lakelet  hear 

The  dip  of  oars  with  which  the  maiden  rowed 

Her  shallop,  pushing  ever  from  the  prow 

A  crowd  of  long,  light  ripples  toward  the  shore. 

Two  brothers  had  the  maiden,  and  she  thought, 

Within  herself:  "I  would  I  were  like  them; 

For  then  I  might  go  forth  alone,  to  trace 

The  mighty  rivers  downward  to  the  sea, 

And  upward  to  the  brooks  that,  through  the  year, 

Prattle  to  the  cool  valleys. 

To  the  Teacher.— The  distinctions  between  synonymes  should,  as  far  as 
possible,  be  deduced  from  examples  by  the  pupils  themselves.  One  of  each  set 
of  synonymes  is  found  in  the  text;  have  the  pupils  decide  whether  the  others  of 
the  same  set  could  be  used  equally  well  in  its  stead.  The  distinctions  are 
given  in  the  unabridged  dictionaries,  and  with  more  fulness  in  works  on  syno- 
nymes; as  Crabbe's  "Synonymes,"  and  with  especial  clearness  in  Smith's 
"  Synonymes  Discriminated."  Whatever  also  can  be  done  in  getting  at  the 
meaning  of  the  roots  of  difficult  words,  in  tracing  the  words  derived  from  the 
same  root,  in  studying  the  meaning  of  prefixes  and  suffixes,  will  all  lead  to  the 
end  in  view,  accuracy  in  the  use  of  words. 

PARAPHRASE  II. 

Discriminate  between  worship,  adore;  between  pile, 
heap,  accumulate.  In  this  and  the  following  exercises, 
make  a  careful  study  of  the  figures. 

" 1  would  know 
What  races  drink  their  waters;  how  their  chiefs 
Bear  rule,  and  how  men  worship  there,  and  how 
They  build,  and  to  what  quaint  device  they  frame, 
Where  sea  and  river  meet,  their  stately  ships; 
What  flowers  are  in  their  gardens,  and  what  trees 
Bear  fruit  within  their  orchards ;  in  what  garb 
Their  bowmen  meet  on  holidays,  and  how 


144         THE   ELEMENTS   OF   ENGLISH   COMPOSITION. 

Their  maidens  bind  the  waist  and  braid  the  hair. 
Here,  on  these  hills,  my  father's  house  o'erlooks 
Broad  pastures  grazed  by  flocks  and  herds,  but  there 
I  hear  they  sprinkle  the  great  plains  with  corn, 
And  watch  its  springing  up ;  and  when  the  green 
Is  changed  to  gold,  they  cut  the  stems  and  bring 
The  harvest  in,  and  give  the  nations  bread. 
And  there  they  hew  the  quarry  into  shafts, 
And  pile  up  glorious  temples  from  the  rock, 
And  chisel  the  rude  stones  to  shapes  of  men. 
All  this  I  pine  to  see,  and  would  have  seen, 
But  that  I  am  a  woman,  long  ago." 

Thus  in  her  wanderings  did  the  maiden  dream, 
Until,  at  length,  one  morn  in  early  spring, 
When  all  the  glistening  fields  lay  white  with  frost, 
She  came  half  breathless  where  her  mother  sat : 
"  See,  mother  dear,"  said  she,  "  what  I  have  found, 
Upon  our  rivulet's  bank ;  two  slippers,  white 
As  the  mid-winter  snow,  and  spangled  o'er 
With  twinkling  points,  like  stars,  and  on  the  edge 
My  name  is  wrought  in  silver ;  read,  I  pray, 
'Sella,'  the  name  thy  mother,  now  in  heaven, 
Gave  at  my  birth ;  and  sure,  they  fit  my  feet ! " 

PARAPHRASE  III. 

Discriminate     between    prudent,    cautious,     discreet. 
Study  especially  characters,   mystic,  rustic,  contexture. 

"A  dainty  pair,"  the  prudent  matron  said, 

"  But  thine  they  are  not.     We  must  lay  them  by 

For  those  whose  careless  hands  have  left  them  here ; 

Or  haply  they  were  placed  beside  the  brook 

To  be  a  snare.     I  cannot  see  thy  name 

Upon  the  border, — only  characters 

Of  mystic  look  and  dim  are  there,  like  signs 

Of  some  strange  art;  nay,  daughter,  wear  them  not." 


THE   PARAPHRASE.  145 

Then  Sella  hung  the  slippers  in  the  porch 
Of  that  broad,  rustic  lodge,  and  all  who  passed 
Admired  their  fair  contexture,  but  none  knew 
Who  left  them  by  the  brook.     And  now,  at  length, 
May,  with  her  flowers  and  singing  birds,  had  gone, 
And  on  bright  streams  and  into  deep  wells  shone 
The  high  mid-summer  sun.     One  day,  at  noon, 
Sella  was  missed  from  the  accustomed  meal. 
They  sought  her  in  her  favorite  haunts,  they  looked 
By  the  great  rock,  and  far  along  the  stream, 
And  shouted  in  the  sounding  woods  her  name. 
Night  came,  and  forth  the  sorrowing  household  went 
With  torches  over  the  wide  pasture  grounds 
To  pool  and  thicket,  marsh  and  briery  dell, 
And  solitary  valley  far  away. 
The  morning  came,  and  Sella  was  not  found. 
The  sun  climbed  high;  they  sought  her  still:  the  noon, 
The  hot  and  silent  noon,  heard  Sella's  name, 
Uttered  with  a  despairing  cry,  to  wastes 
O'er  which  the  eagle  hovered. 

PARAPHRASE  IV. 

Discriminate  between  amaze,  wonder,  surprised,  aston- 
ished. Study  especially  amber,  impulse,  gallant,  crag, 
eddies. 

As  the  sun 
Stooped  toward  the  amber  west  to  bring  the  close 
Of  that  sad,  second  day,  and,  with  red  eyes, 
The  mother  sat  within  her  home  alone, 
Sella  was  at  her  side.     A  shriek  of  joy 
Broke  the  sad  silence ;  glad,  warm  tears  were  shed. 
And  words  of  gladness  uttered.     "Oh,  forgive," 
The  maiden  said,  "  that  I  could  e'er  forget 
Thy  wishes  for  a  moment.     I  just  tried 
The  slippers  on,  amazed  to  see  them  shaped 
So  fairly  to  my  feet,  when,  all  at  once, 


146         THE   ELEMENTS   OF   ENGLISH   COMPOSITION. 

I  felt  my  steps  upborne  and  hurried  on 
Almost  as  if  with  wings.     A  strange  delight, 
Blent  with  a  thrill  of  fear,  o'ermastered  me, 
And,  ere  I  knew,  my  plashing  steps  were  set 
Within  the  rivulet's  pebbly  bed,  and  I 
Was  rushing  down  the  current.     By  my  side 
Tripped  one  as  beautiful  as  ever  looked 
From  white  clouds  in  a  dream,  and,  as  we  ran, 
She  talked  with  musical  voice,  and  sweetly  laughed. 
Gayly  we  leaped  the  crag,  and  swam  the  pool, 
And  swept  with  dimpling  eddies  round  the  rock, 
And  glided  between  shady  meadow  banks. 
The  streamlet,  broadening  as  we  went,  became 
A  swelling  river,  and  we  shot  along 
By  stately  towns,  and  under  leaning  masts 
Of  gallant  barks,  nor  lingered  by  the  shore 
Of  blooming  gardens ;  onward,  onward  still, 
The  same  strong  impulse  bore  me  till,  at  last, 
We  entered  the  great  deep,  and  passed  below 
His  billows,  into  boundless  spaces,  lit 
With  a  green  sunshine. 

PARAPHRASE  V. 

Discriminate  between  hideous,  ghastly,  grim.     Study 
especially  mazy,  frond,  distaff,  screen,  dulse. 

Here  were  mighty  groves 
Par  down  the  ocean  valleys,  and  between 
Lay  what  might  seem  fair  meadows,  softly  tinged 
With  orange  and  with  crimson.     Here  arose 
Tall  stems,  that,  rooted  in  the  depths  below, 
Swung  idly  with  the  motions  of  the  sea; 
And  here  were  shrubberies  in  whose  mazy  screen 
The  creatures  of  the  deep  made  haunt.     My  friend 
Named  the  strange  growths,  the  pretty  coralline, 
The  dulse  with  crimson  leaves,  and,  streaming  far, 


THE   PARAPHRASE.  147 

Sea-thong  and  sea-lace.     Here  the  tangle  spread 
Its  broad,  thick  fronds,  with  pleasant  bowers  beneath, 
And  oft  we  trod  a  waste  of  pearly  sands, 
Spotted  with  rosy  shells,  and  thence  looked  in 
At  caverns  of  the  sea  whose  rock-roofed  halls 
Lay  in  blue  twilight.     As  we  moved  along, 
The  dwellers  of  the  deep,  in  mighty  herds, 
Passed  by  us,  reverently  they  passed  us  by, 
Long  trains  of  dolphins  rolling  through  the  brine, 
Huge  whales  that  drew  the  waters  after  them, 
A  torrent  stream,  and  hideous  hammer-sharks, 
Chasing  their  prey ;  I  shuddered  as  they  came ; 
Gently  they  turned  aside  and  gave  us  room." 
Hereat  broke  in  the  mother,  "Sella,  dear, 
This  is  a  dream,  the  idlest,  vainest  dream." 
"Nay,  mother,  nay;  behold  this  sea-green  scarf, 
Woven  of  such  threads  as  never  human  hand 
Twined  from  the  distaff.     She  who  led  my  way 
Through  the  great  waters,  bade  me  wear  it  home  — 
A  token  that  my  tale  is  true. 

PARAPHRASE  VI. 

Discriminate  between  huge,  enormous,  immense,  vast, 
monstrous.  Study  especially  abyss,  wavelets,  cull,  midrib, 
plummet,  downy. 

"'And  keep, 
She  said,  '  the  slippers  thou  hast  found,  for  thou, 
When  shod  with  them,  shalt  be  like  one  of  us, 
With  power  to  walk  at  will  the  ocean  floor, 
Among  its  monstrous  creatures  unafraid, 
And  feel  no  longing  for  the  air  of  heaven 
To  fill  thy  lungs,  and  send  the  warm,  red  blood 
Along  thy  veins.     But  thou  shalt  pass  the  hours 
In  dances  with  the  sea-nymphs,  or  go  forth, 
To  look  into  the  mysteries  of  the  abyss 


148         THE   ELEMENTS   OF  ENGLISH   COMPOSITION. 

Where  never  plummet  reached.     And  thou  shalt  sleep 

Thy  weariness  away  on  downy  banks 

Of  sea-moss,  where  the  pulses  of  the  tide 

Shall  gently  lift  thy  hair,  or  thou  shalt  float 

On  the  soft  currents  that  go  forth  and  wind 

From  isle  to  isle,  and  wander  through  the  sea.' 

So  spake  my  fellow-voyager,  her  words 

Sounding  like  wavelets  on  a  summer  shore, 

And  then  we  stopped  beside  a  hanging  rock, 

With  a  smooth  beach  of  white  sands  at  its  foot, 

Where  three  fair  creatures  like  herself  were  set 

At  their  sea-banquet,  crisp  and  juicy  stalks, 

Culled  from  the  ocean's  meadows,  and  the  sweet 

Midrib  of  pleasant  leaves,  and  golden  fruits, 

Dropped  from  the  trees  that  edge  the  southern  isles, 

And  gathered  on  the  waves.     Kindly  they  prayed 

That  I  would  share  their  meal,  and  I  partook 

With  eager  appetite,  for  long  had  been 

My  journey,  and  I  left  the  spot  refreshed. 

PARAPHRASE  VII. 

Discriminate  between   high,  tall,  lofty.     Study  espe- 
cially pinnacle,  molten,  founder,  oppress. 

"And  then  we  wandered  off  amid  the  groves 

Of  coral,  loftier  than  the  growths  of  earth ; 

The  mightiest  cedar  lifts  no  trunk  like  theirs, 

So  huge,  so  high,  toward  heaven,  nor  overhangs 

Alleys  and  bowers  so  dim.     We  moved  between 

Pinnacles  of  black  rock;  which,  from  beneath, 

Molten  by  inner  fires,  so  said  my  guide, 

Gushed  long  ago  into  the  hissing  brine, 

That  quenched  and  hardened  them ;  and  now  they  stand 

Motionless  in  the  currents  of  the  sea 

That  part  and  flow  around  them.     As  we  went, 

We  looked  into  the  hollows  of  the  abyss, 


THE   PARAPHRASE.  149 

To  which  the  never-resting  waters  sweep 
The  skeletons  of  sharks,  the  long  white  spines 
Of  narwhale  and  of  dolphin,  bones  of  men 
Shipwrecked,  and  mighty  ribs  of  foundered  barks. 
Down  the  blue  pits  we  looked,  and  hastened  on. 
But  beautiful  the  fountains  of  the  sea 
Sprang  upward  from  their  bed ;  the  silvery  jets 
Shot  branching  far  into  the  azure  brine, 
And  where  they  mingled  with  it,  the  great  deep 
Quivered  and  shook,  as  shakes  the  glimmering  air 
Above  a  furnace.     So  we  wandered  through 
The  mighty  world  of  waters,  till  at  length 
I  wearied  of  its  wonders,  and  my  heart 
Began  to  yearn  for  my  dear  mountain  home. 
I  prayed  my  gentle  guide  to  lead  me  back 
To  the  upper  air.     '  A  glorious  realm,'  I  said, 
1  Is  this  thou  openest  to  me ;  but  I  stray 
Bewildered  in  its  vastness ;  these  strange  sights 
And  this  strange  light  oppress  me.     I  must  see 
The  faces  that  I  love,  or  I  shall  die.* 


PARAPHRASE  VIII. 

Discriminate    between    murmur,    complain,    repine. 
Study  especially  marvels,  clamber,  current,  dart. 

"  She  took  my  hand,  and,  darting  through  the  waves, 
Brought  me  to  where  the  stream  by  which  we  came 
Rushed  into  the  main  ocean.     Then  began 
A  slower  journey  upward.     Wearily 
We  breasted  the  strong  current,  climbing  through 
The  rapids  tossing  high  their  foam.     The  night 
Came  down,  and,  in  the  clear  depth  of  a  pool, 
Edged  with  o'erhanging  rock,  we  took  our  rest 
Till  morning;  and  I  slept,  and  dreamed  of  home 
And  thee.     A  pleasant  sight  the  morning  showed ; 
The  green  fields  of  this  upper  world,  the  herds 


150         THE   ELEMENTS   OF   ENGLISH   COMPOSITION. 

That  grazed  the  bank,  the  light  on  the  red  clouds, 
The  trees,  with  all  their  host  of  trembling  leaves, 
Lifting  and  lowering  to  the  restless  wind 
Their  branches.     As  I  woke,  I  saw  them  all 
From  the  clear  stream ;  yet  strangely  was  my  heart 
Parted  between  the  watery  world  and  this, 
And  as  we  journeyed  upward,  oft  I  thought 
Of  marvels  I  had  seen,  and  stopped  and  turned, 
And  lingered,  till  I  thought  of  thee  again; 
And  then  again  I  turned,  and  clambered  up 
The  rivulet's  murmuring  path,  until  we  came 
Beside  this  cottage  door.     There  tenderly 
My  fair  conductor  kissed  me,  and  1  saw 
Her  face  no  more.     I  took  the  slippers  off. 
Oh!  with  what  deep  delight  my  lungs  drew  in 
The  air  of  heaven  again,  and  with  what  joy 
I  felt  my  blood  bound  with  its  former  glow : 
And  now  I  never  leave  thy  side  again." 

William  Cullen  Bryant. 


SUMMARY   I. 

Make  an  outline  of  topics,  and  then  write  a  Summary, 
or  Review,  of  Selection  1.  A  Summary  differs  from  a 
Reproduction  in  being  much  briefer.  It  is  the  opposite 
of  Development.  It  is  a  condensation  of  the  whole  into 
as  brief  space  as  may  be.  Seize  upon  the  outlines,  omit- 
ting the  less  important  details.  Attend  carefully  to  pro- 
portion, not  dwelling  unduly  upon  any  one  part  at  the 
expense  of  the  rest. 

SUMMARY  II. 

Read  the  remainder  of  "  Sella  "  in  Bryant's  Poems,  and 
write  a  Summary. 


THE   PARAPHRASE.  151 

SUBJECTS  FOR  STORY. 

You  may  now  write  an  original  story  of  more  ambi- 
tious pretensions  than  any  you  have  tried  before,  imitating 
somewhat  the  story  of  "  Sella."  Attend  carefully  to 
unity;  that  is,  do  not  introduce  anything  not  belonging 
to  the  story.  See  also  that  there  are  no  inconsistencies. 
Select  from  the  following. 

The  Golden  Arrow.  The  Queen  of  Rainbow  Land. 

The  Magical  Flute.  The  Mermaid's  Dream. 

The  Wishing  Stone.  Daisy's  Visit  to  Fairy  Land. 

An  Autobiography  of  a  Statue.  The  Ice  King. 

SELECTION  II. 

SNOW-BOUND. 

A  WINTER  IDYL. 

PARAPHRASE   IX. 

Discriminate  between  augur,  presage,  forebode,  por- 
tend. Study  especially  waning,  ominous,  rhythm, 
stanchion,  querulous. 

The  sun  that  brief  December  day 

Rose  cheerless  over  hills  of  grpy, 

And,  darkly  circled,  gave  at  noon 

A  sadder  light  than  waning  moon. 

Slow  tracing  down  the  thickening  sky 

Its  mute  and  ominous  prophecy, 

A  portent  seeming  less  than  threat, 

It  sank  from  sight  before  it  set. 

A  chill  no  coat,  however  stout, 

Of  homespun  stuff,  could  quite  shut  out, 


152         THE   ELEMENTS   OF   ENGLISH   COMPOSITION. 

A  hard,  dull  bitterness  of  cold, 

That  checked,  mid-vein,  the  circling  race 

Of  life-blood  in  the  sharpened  face, 

The  coming  of  the  snow-storm  told. 

The  wind  blew  east:  we  heard  the  roar 

Of  Ocean  on  his  wintry  shore, 

And  felt  the  strong  pulse  throbbing  there 

Beat  with  low  rhythm  our  inland  air. 

Meanwhile  we  did  our  nightly  chores, — 
Brought  in  the  wood  from  out  of  doors, 
Littered  the  stalls,  and  from  the  mows 
Raked  down  the  herd's-grass  for  the  cows; 
Heard  the  horse  whinnying  for  his  corn; 
And,  sharply  clashing  horn  on  horn, 
Impatient,  down  the  stanchion  rows 
The  cattle  shake  their  walnut  bows; 
While,  peering  from  his  early  perch 
Upon  the  scaffold's  pole  of  birch, 
The  cock  his  crested  helmet  bent 
And  down  his  querulous  challenge  sent. 

Unwarmed  by  any  sunset  light 

The  gray  day  darkened  into  night, — 

A  night  made  hoary  with  the  swarm 

And  whirl-dance  of  the  blinding  storm, 

As,  zigzag,  wavering  to  and  fro, 

Crossed  and  recrossed    the  winged  snow. 

And  ere  the  early  bedtime  came 

The  white  drift  piled  the  window-frame, 

And  through  the  glass  the  clothes-line  posts 

Looked  in  like  tall  and  sheeted  ghosts. 

Study  carefully  this  fine  example  of  description.  Be- 
fore attempting  the  paraphrase,  make  as  minute  an  outline 
of  topics  as  possible;  then  from  it  write  freely  in  your  own 
way. 


THE    PARAPHRASE.  153 

PARAPHRASE   X. 

Discriminate  between  marvel,  wonder,  miracle.    Study 
especially  spherule,  pellicle,  hoary,  supernal. 

So  all  night  long  the  storm  roared  on: 

The  morning  broke  without  a  sun; 

In  tiny  spherule  traced  with  lines 

Of  Nature's  geometric  signs, 

In  starry  flake,  and  pellicle, 

All  day  the  hoary  meteor  fell; 

And,  when  the  second  morning  shone, 

We  looked  upon  a  world  unknown, 

On  nothing  we  could  call  our  own. 

Around  the  glistening  wonder  bent 

The  blue  walls  of  the  firmament, 

No  cloud  above,  no  earth  below, — 

A  universe  of  sky  and  snow! 

The  old  familiar  sights  of  ours 

Took  marvellous  shapes;  strange  domes  and  towers 

Rose  up  where  sty  or  corn-crib  stood, 

Or  garden  wall,  or  belt  of  wood; 

A  smooth  white  mound  the  brush-pile  showed; 

A  fenceless  drift,  what  once  was  road; 

The  bridle-post    an  old  man  sat 

With  loose-flung  coat  and  high  cocked  hat; 

The  well-curb  had  a  Chinese  roof; 

And  even  the  long  sweep,  high  aloof, 

In  its  slant  splendor,  seemed  to  tell 

Of  Pisa's  leaning  miracle. 

A  prompt,  decisive  man,  no  breath 
Our  father  wasted:  "Boys,  a  path!" 
Well  pleased,  (for  when  did  farmer  boy 
Count  such  a  summons  less  than  joy?) 

Our  buskins  on  our  feet  we  drew; 
With  mittened  hands,  and  caps  drawn  low, 


154         THE   ELEMENTS   OF   ENGLISH   COMPOSITION. 

To  guard  our  necks  and  ears  from  snow, 

We  cut  the  solid  whiteness  through. 
And,  where  the  drift  was  deepest,  made 
A  tunnel,  walled  and  overlaid 
With  dazzling  crystal:  we  had  read 
Of  rare  Aladdin's  wondrous  cave, 
And  to  our  own  his  name  we  gave, 
With  many  a  wish  the  luck  were  ours 
To  test  his  lamp's  supernal  powers. 

PARAPHRASE   XI. 

Discriminate   between   brute,  beast  y  between  savage, 
barbarous. 

We  reached  the  barn  with  merry  din, 
And  roused  the  prisoned  brutes  within. 
The  old  horse  thrust  his  long  neck  out, 
And,  grave  with  wonder,  gazed  about; 
The  cock  his  lusty  greeting  said, 
And  forth  his  speckled  harem  led; 
The  oxen  lashed  their  tails,  and  hooked, 
And  mild  reproach  of  hunger  looked; 
The  horned  patriarch  of  the  sheep, 
Like  Egypt's  Amun  roused  from  sleep, 
Shook  his  sage  head  with  gesture  mute, 
And  emphasized  with  stamp  of  foot. 

All  day  the  gusty  north  wind  bore 
The  loosening  drift  its  breath  before; 
Low  circling  round  its  southern  zone, 
The  sun  through  dazzling  snow-mist  shone. 
No  church-bell  lent  its  Christian  tone 
To  the  savage  air,  no  social  smoke 
Curled  over  woods  of  snow-hung  oak. 
A  solitude  made  more  intense 
By  dreary-voiced  elements, 
The  shrieking  of  the  mindless  wind, 
The  moaning  tree-boughs  swaying  blind, 


THE   PARAPHRASE.  165 

And  on  the  glass  the  unmeaning  beat 
Of  ghostly  finger-tips  of  sleet. 
Beyond  the  circle  of  our  hearth 
No  welcome  sound  of  toil  or  mirth 
Unbound  the  spell,  and  testified 
Of  human  life  and  thought  outside. 
We  minded  that  the  sharpest  ear 
The  buried  brooklet  could  not  hear, 
The  music  of  whose  liquid  lip 
Had  been  to  us  companionship, 
And,  in  our  lonely  life,  had  grown 
To  have  an*  almost  human  tone. 

PARAPHRASE  XII. 

Study  especially   curious,  mimic,  pendent,   trammels, 
transfigured,  visible. 

As  night  drew  on,  and,  from  the  crest 
Of  wooded  knolls  that  ridged  the  west, 
The  sun,  a  snow-blown  traveller,  sank 
From  sight  beneath  the  smothering  bank, 
We  piled  with  care  our  nightly  stack 
Of  wood  against  the  chimney-back, — 
The  oaken  log,  green,  huge,  and  thick, 
And  on  its  top  the  stout  back-stick; 
The  knotty  forestick  laid  apart, 
And  filled  between  with  curious  art 
The  ragged  brush  ;  then  hovering  near, 
We  watched  the  first  red  blaze  appear, 
Heard  the  sharp  crackle,  caught  the  gleam 
On  whitewashed  wall  and  sagging  beam, 
Until  the  old,  rude-furnished  room 
Burst,  flower-like,  into  rosy  bloom; 
While  radiant  with  a  mimic  flame 
Outside  the  sparkling  drift  became, 
And  through  the  bare-boughed  lilac-tree 
Our  own  warm  hearth  seemed  blazing  free. 


156         THE   ELEMENTS   OF   ENGLISH   COMPOSITION". 

The  crane  and  pendent  trammels  showed, 
The  Turks'  heads  on  the  andirons  glowed; 
While  childish  fancy,  prompt  to  tell 
The  meaning  of  the  miracle, 
Whispered  the  old  rhyme:  "  Under  the  tree, 
When  fire  out  doors  burns  merrily, 
There  the  witches  are  making  tea" 

The  moon  above  the  eastern  wood 

Shone  at  its  full ;  the  hill-range  stood 

Transfigured  in  the  silver  flood, 

Its  blown  snows  flashing  cold  and  keen, 

Dead  white,  save  where  some  sharp  ravine 

Took  shadow,  or  the  sombre  green 

Of  hemlocks  turned  to  pitchy  black 

Against  the  whiteness  at  their  back. 

For  such  a  world  and  such  a  night 

Most  fitting  that  unwarming  light, 

Which  only  seemed  where'er  it  fell 

To  make  the  coldness  visible. 

*  *  *  *  *  * 

PARAPHRASE  XIII. 

Discriminate  between  remember ;  recollect.     Study  care- 
fully this  fine  description  of  a  person. 

As  one  who  held  herself  a  part 
Of  all  she  saw,  and  let  her  heart 

Against  the  household  bosom  lean, 
Upon  the  motley-braided  mat 
Our  youngest  and  our  dearest  sat, 
Lifting  her  large,  sweet,  asking  eyes, 

Now  bathed  within  the  fadeless  green 
And  holy  peace  of  Paradise. 

Oh,  looking  from  some  heavenly  hill, 
Or  from  the  shade  of  saintly  palms, 
Or  silver  reach  of  river  calms, 


THE   PARAPHRASE.  157 

Do  those  large  eyes  behold  me  still? 
With  me  one  little  year  ago : — 
The  chill  weight  of  the  winter  snow 

For  months  upon  her  grave  has  lain ; 
And  now,  when  summer  south  winds  blow, 

And  brier  and  harebell  bloom  again, 
I  tread  the  pleasant  paths  we  trod, 
I  see  the  violet-sprinkled  sod 
Whereon  she  leaned,  too  frail  and  weak 
The  hillside  flowers  she  loved  to  seek, 
Yet  following  me  where'er  I  went 
With  dark  eyes  full  of  love's  content. 
The  birds  are  glad ;  the  brier-rose  fills 
The  air  with  sweetness;  all  the  hills 
Stretch  green  to  June's  unclouded  sky ; 
But  still  I  wait  with  ear  and  eye 
For  something  gone  which  should  be  nigh, 
A  loss  in  all  familiar  things, 
In  flower  that  blooms,  and  bird  that  sings. 

And  yet,  dear  heart !  remembering  thee, 
Am  I  not  richer  than  of  old? 

Safe  in  thy  immortality, 
What  change  can  reach  the  wealth  I  hold? 
What  chance  can  mar  the  pearl  and  gold 

Thy  love  hath  left  in  trust  with  me? 
And  while  in  life's  late  afternoon, 

When  cool  and  long  the  shadows  grow, 
I  walk  to  meet  the  night  that  soon 

Shall  shape  and  shadow  overflow, 
I  cannot  feel  that  thou  art  far, 
Since  near  at  need  the  angels  are ; 
And  when  the  sunset  gates  unbar, 

Shall  I  not  see  thee  waiting  stand, 
And,  white  against  the  evening  star, 

The  welcome  of  thy  beckoning  hand? 

John  Greenleaf  Whittier. 


158         THE   ELEMENTS   OF   ENGLISH   COMPOSITION. 

EXERCISES   IN   COMPOSITION. 

DEVELOPMENT   XX. 

THE  HOUSE  IN  THE  MEADOW. 

It  stands  in  a  sunny  meadow, 

The  house,  so  mossy  and  brown, 
With  its  cumbrous  old  stone  chimneys, 

And  the  gray  roof  sloping  down. 

The  trees  fold  their  green  arms  around  it  — 

The  trees  a  century  old  — 
And  the  winds  go  chanting  through  them, 

And  the  sunbeams  drop  their  gold. 

The  cowslips  spring  in  the  marshes, 

The  roses  bloom  on  the  hill, 
And  beside  the  brook  in  the  pasture, 

The  herds  go  feeding  at  will. 

Louise  Chandler  Moulton. 

Develop  this  descriptive  poem,  and  weave  in  with  it  a 
sketch  of  a  person  whose  home  you  may  suppose  this 
"House  in  the  Meadow"  to  be.  Take  a  character  from 
actual  life,  changing,  however,  to  suit  your  purpose.  This 
and  the  following  themes  are  principally  descriptive,  but 
narration  need  not  be  excluded  entirely. 

DEVELOPMENT    XXI. 

A  FARM  PICTURE. 

An  old  farm-house  nearly  hidden  among  trees.  Ample  barns. 
Fields  of  grain.  Meadows  with  cattle  grazing.  Roads  running 
between  fields.    Men  busy  in  the  fields.    Children  gathering  berries. 


THE   PARAPHRASE.  159 

DEVELOPMENT  XXII. 

A  MORNING  SCENE. 

A  clear  summer  morning.  A  quiet  stream  bordered  by  rushes 
and  trees.  One  large  tree  leaning  over  the  stream.  Pond  lilies 
upon  its  surface.  Mossy  stones.  Birds  singing.  Cattle  standing 
in  the  water,  or  coming  to  drink.     Suitable  reflections. 

DEVELOPMENT  XXIII. 

CLEON  AND  I. 

Cleon  hath  a  million  acres;  ne'er  a  one  have  I: 
Cleon  dwelleth  in  a  palace;  in  a  cottage,  I: 
Cleon  hath  a  dozen  fortunes;  not  a  penny,  I: 
Yet  the  poorer  of  the  twain  is  Cleon,  and  not  I. 

Cleon  true  possesseth  acres;  but  the  landscape,  I  — 
Half  the  charms  to  me  it  yieldeth,  money  cannot  buy: 
Cleon  harbors  sloth  and  dulness;    freshening  vigor,  I: 
He  in  velvet,  I  in  fustian ;  richer  man  am  I. 

Cleon  is  a  slave  to  grandeur;  free  as  thought  am  I: 
Cleon  fees  a  score  of  doctors ;  need  of  none  have  I : 
Wealth-surrounded,  care-environed,  Cleon  fears  to  die; 
Death  may  come, — he'll  find  me  ready;  happier  man  am  I. 

Cleon  sees  no  charms  in  Nature ;  in  a  daisy,  I : 
Cleon  hears  no  anthems  ringing  in  the  sea  and  sky; 
Nature  sings  to  me  forever  —  earnest  listener,  I: 
State  for  state,  with  all  attendants,  who  would  change?  not  I. 

Charles  Mackay. 

This  poem  offers  a  fine  opportunity  for  contrasting 
descriptions  of  both  landscape  and  persons. 


160         THE   ELEMENTS   OF   ENGLISH    COMPOSITION. 

DEVELOPMENT  XXIV. 

REQUIESCAT. 

Fair  is  her  cottage  in  its  place, 

Where  yon  broad  water  sweetly,  slowly,  glides. 
It  sees  itself  from  thatch  to  base 

Dreaming  in  the  sliding  tides. 

And  fairer  she,  but,  ah,  how  soon  to  die ! 

Her  quiet  dream  of  life  this  hour  may  cease. 
Her  peaceful  being  slowly  passes  by 

To  some  more  perfect  peace. 

Alfred  Tennyson. 

DEVELOPMENT  XXV. 

THE  THREE   FISHERS. 

Three  fishers  went  sailing  out  into  the  west, — 

Out  into  the  west  as  the  sun  went  down ; 
Each  thought  on  the  woman  who  loved  him  the  best, 

And  the  children  stood  watching  them  out  of  the  town ; 
For  men  must  work  and  women  must  weep, 
And  there's  little  to  earn  and  many  to  keep, 

Though  the  harbor  bar  be  moaning. 

Three  wives  sat  up  in  the  lighthouse  tower, 

And  they  trimmed  the  lamps  as  the  sun  went  down ; 

They  looked  at  the  squall  and  they  looked  at  the  shower, 
And  the  night-rack  came  rolling  up  ragged  and  brown ; 

But  men  must  work  and  women  must  weep, 

Though  storms  be  sudden  and  waters  deep, 
And  the  harbor  bar  be  moaning. 

Three  corpses  lay  out  on  the  shining  sands, 

In  the  morning  gleam,  as  the  tide  went  down ; 

And  the  women  are  weeping  and  wringing  their  hands 
For  those  who  will  never  come  home  to  the  town; 


THE   PARAPHRASE.  161 

For  men  must  work  and  women  must  weep, — 
And  the  sooner  its  over,  the  sooner  to  sleep, — 
And  good-bye  to  the  bar  and  its  moaning. 

Charles  Kingsley. 


DEVELOPMENT  XXVI. 

THE   BROOK. 

I  come  from  haunts  of  coot  and  hern, 

I  make  a  sudden  sally 
And  sparkle  out  among  the  fern, 

To  bicker  down  a  valley. 

By  thirty  hills  I  hurry  down, 
Or  slip  between  the  ridges, 

By  twenty  thorps,  a  little  town, 
And  half  a  hundred  bridges. 

Till  last  by  Philip's  farm  I  flow 
To  join  the  brimming  river; 

For  men  may  come  and  men  may  go, 
But  I  go  on  forever. 

I  chatter  over  stony  ways 
In  little  sharps  and  trebles, 

I  bubble  into  eddying  bays, 
I  babble  on  the  pebbles. 

With  many  a  curve  my  banks  I  fret 
By  many  a  field  and  fallow, 

And  many  a  fairy  foreland  set 
With  willow-weed  and  mallow. 

I  chatter,  chatter,  as  I  flow 
To  join  the  brimming  river; 

For  men  may  come  and  men  may  go, 
But  I  go  on  forever. 


162         THE   ELEMENTS   OF   ENGLISH   COMPOSITION-. 

I  wind  about,  and  in  and  out, 

With  here  a  blossom  sailing, 
And  here  and  there  a  lusty  trout, 

And  here  and  there  a  grayling, 

And  here  and  there  a  foamy  flake 

Upon  me,  as  I  travel 
With  many  a  silvery  watenbreak 

Above  the  golden  gravel ; 

And  draw  them  all  along,  and  flow 

To  join  the  brimming  river; 
For  men  may  come  and  men  may  go, 

But  I  go  on  forever. 

Alfred  Tennyson. 


DEVELOPMENT  XXVII. 

AN  EVENING  SCENE. 

Sweet  was  the  sound,  when  oft  at  evening's  close 
Up  yonder  hill  the  village  murmur  rose. 
There,  as  I  passed,  with  careless  steps  and  slow, 
The  mingling  notes  came  softened  from  below ; 
The  swain  responsive  as  the  milkmaid  sung, 
The  sober  herd  that  lowed  to  meet  their  young, 
The  noisy  geese  that  gabbled  o'er  the  pool, 
The  playful  children  just  let  loose  from  school, 
The  watch-dog's  voice  that  bayed  the  whispering  wind, 
And  the  loud  laugh  that  spoke  the  vacant  mind; — 
These  ail  in  sweet  confusion  sought  the  shade, 
And  filled  each  pause  the  nightingale  had  made. 

Oliver  Goldsmith. 


THE   PARAPHRASE.  163 

SUBJECTS   FOR  DESCRIPTION. 

Write  descriptions  of  familiar  scenes  and  familiar 
things.  Mingle  freely  your  reflections.  Select  from  the 
following  subjects: — 

A  Moonlight  Ride. 

A  Fishing  Excursion. 

A  Thunder  Storm. 

The  Fall  of  the  Leaves. 

The  Uses  of  Pencils. 

The  Toothache. 

Christmas  Eve. 

Shells. 

Apple  Blossoms. 

Ears. 

A  Balky  Horse. 

Describe  as  vividly  as  possible  some  place.  Inter- 
weave some  incident,  or  a  description  of  some  person 
whom  you  have  known.  The  following  subjects  may 
prove  suggestive: — 

A  Churchyard  where  a  Friend  Lies  Buried. 

An  Old  Mill  and  the  Miller. 

A  Rickety  Tenement  where  Lives  a  Brave  Little  Lad. 

A  Blacksmith  Shop  and  the  Blacksmith. 

A  Beach,  and  Children  at  Play. 

The  Old  Jail  and  a  Prisoner. 

Describe  both  the  appearance  and  character  of  some 
person  either  real  or  imaginary.  Interweave  some  inci- 
dents you  may  have  heard  or  read.     Some  subjects  are: — 


The  Peddler. 
The  Tramp. 
Little  Barefoot. 
A  Gipsy. 


The  Apple  Woman. 
The  Scissors  Grinder. 
A  Teacher. 
An  Old  Schoolmate. 


CHAPTER  VII. 

ADDITIONAL    MATERIAL    FOR 
COMPOSITION. 

In  this  chapter  we  suggest  how  the  methods  already 
given,  Reproduction,  Paraphrasing,  etc.,  may  be  applied 
somewhat  more  broadly  to  the  materials  of  fiction,  his- 
tory, travel,  etc.  Some  additional  methods  are  also 
given. 

The  poems,  tales,  etc.,  are,  of  course,  merely  suggest- 
ive, for  the  literary  material  accessible  to  one  teacher 
may  not  be  accessible  to  another.  Much  of  the  work  is 
adapted  to  the  grade  for  which  the  main  part  of  the 
book  is  designed;  but  much  will,  it  is  thought,  be  found 
quite  difficult  enough  for  a  more  advanced  grade.  The 
adaptation  of  these  subjects  to  the  ability  and  needs  of 
the  pupil  must  be  left  entirely  to  the  judgment  of  the 
teacher. 

FICTION  AND   POETRY. 

1.  Reproduction  of  Short  Story.  —  Read  some  in- 
teresting story;  think  it  over;  then  write  it  out  in  your 
own  way,  as  vividly  as  you  can.  Summarize  as  little  as 
possible.     Suitable  for  this  purpose  are  the  stories  in: 

Hawthorne's  "Twice  Told  Tales,"  "The  Wonder  Book," 
"Tanglewood  Tales";  Lamb's  "Tales  of  Shakespeare";  Hans 
Andersen's  "Tales";  etc. 

164 


ADDITIONAL   MATERIAL   FOR   COMPOSITION.          165 

II.  Reproduction  of  Short  Poems. —  In  the  same 
manner,  put  into  prose  short  poems  that  contain  something 
of  a  story:  as  — 

Longfellow's  "Paul  Revere's  Ride";  Browning's  "The  Pied 
Piper";  Macaulay's  "Horatius  at  the  Bridge";  Scott's  "Cadyon 
Castle" ;  Bryant's  "  Little  People  of  the  Snow";  Tennyson's  "Dora," 
"The  May  Queen,"  etc. 

III.  Reproduction  of  Scenes. —  Narrate  freely,  in 
your  own  way,  with  as  much  detail  as  possible,  interesting 
scenes  from  works  of  fiction  or  poetry.  Introduce  the 
scene  with  a  brief  summary  of  events  immediately  preced- 
ing.    Examples  of  suitable  scenes  are: 

The  Chase,  The  Cross  of  Fire,  from  Scott's  "Lady  of  the  Lake"; 
Little  Nell  on  her  Journey,  from  Dickens's  "Old  Curiosity  Shop " ; 
Giant  Despair  and  his  Prisoners,  from  Bunyan's  "  Pilgrim's  Prog- 
ress"; The  Death  of  Hector,  from  Church's  "Stories  from  Homer"; 
etc.  The  writings  of  Miss  Alcott,  Mrs.  Dodge,  Mr.  Aldrich,  Cap- 
tain Mayne  Reid,  etc.,  will  also  furnish  admirable  material  for  these 
exercises. 

IV.  Summary  or  Review. —  The  object  of  the  pre- 
ceding exercises  is  vivid  narration;  the  same  or  similar 
scenes,  poems,  or  stories  may  be  condensed  into  a  sum- 
mary; that  is,  told  briefly.  This  is  an  admirable  exercise. 
Additional  examples  are: 

Tennyson's  "Enoch  Arden";  Longfellow's  "Evangeline,"  "Miles 
Standish";  Irving's  "Rip  Van  Winkle,"  "Legend  of  Sleepy  Hol- 
low"; George  Eliot's  "Silas  Marner,"  etc. 

V.  Paraphrase. — Paraphrase  any  short  poem,  or  any 
selected  passage  from  prose  or  poetry:  as  — 

Wordsworth's  "Grace  Darling";  Whittier's  "Ri  vermouth 
Rocks,"  "Maud  Muller,"  etc. 


166         THE  ELEMENTS   OF   ENGLISH   COMPOSITION. 

VI.  Biography. —  Give  a  sort  of  biography  of  some 
character  of  fiction ;  that  is,  trace  his  career  without  re- 
gard to  the  other  characters,  relate  his  exploits,  giving 
freely  your  own  opinion  of  him.     Examples  are: 

Scrooge,  from  Dickens's  "  Christmas  Carol";  Meg  Merrilies,  from 
Scott's  "Guy  Mannering";  Locksley,  the  Outlaw,  from  Scott's 
"  Ivanhoe  " ;  Artful  Dodger,  from  Dickens's  "  Oliver  Twist " ;  Squeers, 
from  Dickens's  "Nicholas  Nickleby";  Achilles,  from  Church's 
"Stories  from  Homer";  Blind  Muriel,  from  Miss  Muloch's  "John 
Halifax";  Brutus,  from  Shakespeare's  play  of  "Julius  Caesar";  etc. 

VII.  Book  Review. —  Write  a  summary  of  an  entire 
book  or  play:  as  — 

Kingsley's  "Water  Babies  " ;  Hughes's  "  Tom  Brown  at  Rugby  ",- 
Fouque's  "Undine " ;  St.  Pierre's  "Paul and  Virginia " ;  Hawthorne's 
"Marble  Faun";  De  Foe's  "Robinson  Crusoe";  Johnson's  "Rasse- 
las";  Scott's  "Marraion";  Shakespeare's  "Othello,"  "The  Tem- 
pest," etc. 

HISTORY  AND  TRAVEL. 

I.  Reviews. —  Write  reviews  of  histories,  travels, 
biographies,  descriptions  of   famous  places,  etc: 

as  — 

Plutarch's  "Lives";  Towle's  "Heroes of  History";  Strickland's 
"Queens  of  England";  Du  Chaillu's  "Land  of  the  Midnight 
Sun";  Irving's  "  Alhambra,"  etc. 

II.  Original  Essays. —  Write  original  essays  upon 
themes  drawn  from  history,  travel,  descriptions  of  famous 
places,  inventions,  etc. 

Whatever  you  are  interested  in  and  wish  to  pursue 
more  fully,  will  furnish  an  excellent  theme  for  writing. 
Indeed  you  should  not  read  so  much  to  obtain  material 
for  writing,  as  you  should  write  to  fix  in  the  mind  the 
matter  already  read. 


ADDITIONAL   MATERIAL   FOR   COMPOSITION.  167 

The    following   are    a    few    examples    of    appropriate 
themes: — 

Raleigh's  Part  in  the  Colonization  of  America. 

Raleigh  in  the  Tower. 

The  Spanish  Armada, 

Mary  Queen  of  Scots  at  Lochleven  Castle. 

The  Assassination  of  Crasar. 

St.  Peter's  Church  in  Rome. 

The  Coliseum. 

Newstead  Abbey. 

The  Fate  of  Prince  Arthur. 

The  Battle  of  Waterloo. 

The  Rhine. 

Queen  Elizabeth  and  the  Earl  of  Essex. 

The  Alhambra. 

Lady  Jane  Grey. 

The  Capture  of  Sir  William  Wallace. 

Windsor  Castle. 

The  Surrender  of  Yorktown. 

The  Battle  of  Hastings. 

The  Fall  of  Wolsey. 

The  Capture  of  Andre. 

The  Island  of  St.  Helena. 

The  Tower  of  London. 

The  Docks  of  London. 

Westminster  Abbey. 

Printing. 

The  Newspaper. 

William  Caxton. 

The  White  House. 

The  Supreme  Court. 

The  Telephone. 

Mammoth  Cave. 

The  Manufacture  of  Glass. 

The  Jesuit  Missionaries  in  North  America. 

The  Conspiracy  of  Pontiac. 


168         THE   ELEMENTS   OF   ENGLISH   COMPOSITION. 

HINTS  ON  THE  PREPARATION  OF  ESSAYS. 

1.  Select  a  theme  which  you  thoroughly  understand, 
or  upon  which  you  can  get  abundant  information. 

2.  Narrow  your  subject  as  much  as  your  knowledge  of 
it  will  permit.  For  example:  The  History  of  Gunpow- 
der, or  The  Uses  of  Gunpowder,  is  to  be  preferred  to  the 
unlimited  subject  Gunpowder ;  Raleigh  in  the  Tower,  to 
the  unlimited  subject,  The  Life  of  Raleigh. 

3.  The  first  essential  is  ideas.  Learn  all  you  can  from 
books,  or  any  other  source.  Bear  in  mind  also  the  great 
truth  that  there  can  be  no  clear,  logical  writing,  without 
clear,  logical  thinking, 

4.  Take  notes  of  the  thoughts  that  come  to  you  upon 
your  subject.  Many  a  good  thought  will  be  forgotten  if 
not  put  immediately  upon  paper. 

5.  Arrange  the  whole  subject  according  to  a  definite 
topical  plan.  The  topics  should  lead  naturally  and  easily 
from  point  to  point. 

6.  Do  not  be  satisfied  with  the  first  or  even  the  second 
writing.     You  will  be  amply  repaid  for  careful  revisions. 

7.  Every  essay  must  consist  of  at  least  three  para- 
graphs; the  Introduction,  the  Discussion,  and  the  Con- 
clusion. The  Discussion,  or  body  of  the  essay,  may  be 
divided  into  as  many  paragraphs  as  seems  necessary. 

As  in  preparing  essays  the  pupil  will  often  have  to 
obtain  his  information  chiefly  from  books,  he  may  find  of 
service  the  following: — 


ADDITIONAL   MATERIAL  FOR   COMPOSITION".         169 

HINTS  ON  THE  USE  OF  BOOKS. 

1.  "  I  call  that  the  best  theme,  which  shows  that  the 
boy  has  read  and  thought  for  himself;  that  the  next 
best,  which  shows  that  he  has  read  several  books,  and  di- 
gested what  he  has  read;  and  that  the  worst,  which  shows 
that  he  has  followed  but  one  book,  and  followed  that  with- 
out reflection." —  Dr.  Arnold. 

2.  You  must  not  copy  from  your  authorities  their  lan- 
guage, their  figures,  their  order  of  presenting  a  subject. 
Also,  if  you  borrow  any  thought  that  seems  to  be  original 
with  an  author,  you  should  distinctly  state  that  you  have 
done  so.  Copying  from  authorities  without  acknowl- 
edging it  is  called  by  the  hard  name  of  plagiarism,  that 


3.  Facts  are,  in  general,  not  the  property  of  any  one 
individual.  You  therefore  have  a  right  to  learn  from  an 
author,  and,  having  made  the  knowledge  your  own,  to 
use  it  again  in  your  own  way  and  for  your  own  purpose. 

MISCELLANEOUS  SUBJECTS. 

Ancient  Time  Keepers. 

The  Curfew. 

Bells. 

Watches.  * 

Andirons. 

The  Rocking  Chair. 

The  Sphinx. 

The  History  of  the  Novel. 

The  Influence  of  the  Novel. 

Fashionable  Follies. 

The  Taking  of  Troy. 


170         THE  ELEMENTS   OF   ENGLISH   COMPOSITION. 

The  Death  of  Dido. 

The  Descent  of  iEneas  into  Hades. 

The  Character  of  the  Empress  Josephine. 

The  Life  of  Santa  Claus. 

Chatterton,  the  Boy  Poet. 

The  Use  of  the  Hand. 

Garibaldi,  the  Italian  Liberator. 

Orpheus'  Descent  to  Hades. 

The  History  of  the  English  Bible. 

Learning  to  Cook. 

Experience  in  Gardening. 

The  Mishap  on  the  Ice. 

Making  a  Boat. 

Can  a  Dog  Think? 

Fire  Crackers. 

Little  Red  Riding  Hood. 

Jack  Frost. 

Early  Birds. 

Horseshoes. 

The  King  of  the  Land  of  Nod. 

Easter  Eggs. 

Snow -balling. 

Halloween. 

The  Butterfly  and  the  Bee. 

Fall  Flowers. 

A  Description  of  a  Fire. 

Humming  Birds. 

Light-houses. 

Candy  Making. 

Advertisements. 

Sunrise. 

Editors. 

Phantoms. 

Masks. 

The  Centaurs. 

The  Story  of  Narcissus. 

Cinderella. 


ADDITIONAL   MATERIAL  FOR  COMPOSITION.         171 

An  Image  Vendor. 

The  Snow  Man. 

The  Moral  Influence  of  Soap. 

The  Value  of  Examinations. 

Class  Pictures. 

The  Education  of  the  Indians. 

The  Inhabitants  of  Alaska. 

Alarm  Clocks. 

Great  Actresses. 

The  Fate  of  Marie  Antoinette. 

The  French  Revolution. 

The  Value  of  Good  Cookery. 

How  to  Cultivate  the  Memory. 
The  Uses  of  Eyes. 

Ganymede. 

The  Story  of  Macbeth. 

The  Roman  Carnival. 

The  Man  with  the  Iron  Mask. 

The  Death  and  Burial  of  De  Soto. 

The  Mound  Builders. 

Romulus. 

The  Capture  of  the  Golden  Fleece. 

Tears. 

Duels. 

Pandora's  Box. 

The  Moors  in  Spain. 

The  Return  of  Ulysses. 

Delusions. 

The  Causes  of  the  American  Revolution. 

The  Causes  of  the  Protestant  Reformation. 

Dreams. 

Cicero. 

The  Character  of  Wellington. 

British  Rule  in  India. 

Heroism. 

The  Value  of  Books. 

The  Character  of  Washington. 


172         THE   ELEMENTS   OF   ENGLISH   COMPOSITION. 

The  British  at  Alexandria. 

Daniel  Webster  as  an  Orator. 

Tongues. 

Puns. 

Royalty  in  Bonds. 

Mosaics. 

Shackles. 

The  Fertilization  of  Seeds. 

The  Habits  of  the  Bee. 

Alexander  Hamilton. 

The  Butterfly  and  Its  Changes. 

Curiosity. 

The  Triumphs  of  Steam. 

The  Character  of  Byron. 

Lessons  from  the  Life  of  Napoleon. 

The  Genius  of  Edgar  Poe. 

Old  Age. 

Forest  Trees. 

Nature's  Nobleman. 

Myths. 

The  Use  of  Flowers. 

Sleep. 

Bitter  Words. 

The  Obligations  of  America  to  England. 

The  Slave  Trade. 

Scottish  Poets. 

British  Orators. 

The  Character  of  La  Fayette. 

Modern  Greece. 

The  Obligation  of  Liberty  to  John  Hampden. 

The  Future  of  America. 

A  Defence  of  Xanthippe. 

Maria  Theresa. 

Charles  XII.  of  Sweden. 


ADDITIONAL   MATERIAL   FOR   COMPOSITION.         173 

MARKS  FOR  THE  CORRECTION  OF  COMPOSI- 
TIONS. 

The  marks  here  given  are  used  by  proof-readers  and 
printers. 

1.  Changing. —  If  a  point,  letter,  word,  or  phrase  is 
to  be  changed,  draw  a  line  through  it  and  write  the  cor- 
rect point,  letter,  word,  or  phrase  in  the  margin. 

2.  Omitting. —  If  a  point,  letter,  word,  or  phrase  is  to 
be  omitted,  draw  a  line  through  it  and  put  d  (dele,  that  is, 
destroy)  in  the  margin. 

3.  Inserting. —  If  a  point,  letter,  word,  or  phrase  is  to 
be  inserted,  put  a  caret,  a,  where  the  point,  letter,  word, 
or  phrase  should  be,  and  write  in  the  margin  what  is  to  be 
inserted. 

If  a  period  is  to  be  inserted,  place  it  in  the  margin 
within  a  circle,  thus,  O ;  if  quotation  marks  or  apostrophes, 
place  them  within  an  angle,  thus,  ^  fy  ;  if  a  dash, 
indicate  it  thus,  / — /  ;  if  a  hyphen,  thus,  /-/  . 

4.  Capitalizing.— If  a  small  letter  ought  to  be  writ- 
ten as  a  capital,  draw  three  lines  under  it,  and  write  cap. 
in  the  margin. 

If  a  capital  letter  ought  to  be  written  as  a  small  letter, 
draw  a  slant  line  through  it,  and  write  in  the  margin,  I.  c. 
(the  "  lower  case  "  of  the  printers,  i.e.,  the  "  case  "  where 
small  letters  are  kept,  which  is  below  the  capitals). 

5.  The  Paragraph. —  If  a  new  paragraph  is  to  be  in- 
dicated, put  a  __  at  the  first  word  of  the  new  para- 
graph, and  ^f  in  the  margin. 


174         THE    ELEMENTS   OF   ENGLISH   COMPOSITION. 

If  two  paragraphs  ought  to  be  put  into  one,  draw  a 
line  from  the  first  word  of  the  new  paragraph  to  the  last 
word  of  the  preceding,  and  write  run  in  in  the  margin. 

If  a  paragraph  is  not  indented  (that  is,  not  begun 
back  an  inch  or  so  from  the  margin),  place  a  caret  where 
the  indentation  ought  to  be,  and  place  a  quadrat,  □  ,  in  the 
margin. 

6.  Syllabication. —  If  a  syllable  or  letter  of  a  word 
ought  to  be  carried  over  to  the  next  line,  enclose  the  syl- 
lable in  a  bracket,  [ ,  put  a  caret  in  the  place  to  which 
the  syllable  is  to  be  carried,  and  write  over  in  the  margin. 

7.  Transposing. — If  a  word  or  phrase  is  to  be  trans- 
posed, draw  a  curved  line  between  them,  passing  above 
the  one  and  below  the  other,  and  write  tr.  (transpose)  in 
the  margin. 

8.  Closing  up. —  If  the  parts  of  a  word  are  written 
separately,  join  them  by  curves,  and  place  similar  curves 
in  the  margin,  thus,  3  • 

9.  Query. —  If  the  correctness  of  a  word  or  statement 
is  questioned,  make  a  line  around  the  questioned  part,  and 
put  an  interrogation  point  in  the  margin. 


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